Search results for ""Hirmer""

Are we designers or artists? Maybe it's possible to be both For more than three decades, Viktor Horsting and Rolf Snoeren have been exploring with breathtaking virtuosity the boundaries between the worlds of haute couture and art. The book reflects the duo's passions, obsessions and singular vision of their unconventional approach to design. Viktor&Rolf's creations have been embraced by artists such as Madonna, Tilda Swinton, Lady Gaga, Doja Cat and Cardi B as well as many dancers and opera singers. Along with introductory essays and an interview with Viktor&Rolf, 100 of their most daring couture pieces, their dolls dressed in the designers' iconic creations as well as works by renowned visual artists like Ellen von Unwerth, Andreas Gursky, Inez&Vinoodh and Cindy Sherman provide an in-depth look at Viktor&Rolf's unique concept of wearable art.

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For Hex (b. 1964), found steel objects are often the basic material for his abstract sculptures. With the help of welding equipment, angle grinder, hammer and polishing machine, he creates beautifully shaped and extremely impressive works of art sometimes small and sometimes monumental. Today, works by him can be found in collections but also in public places worldwide. This book gives an overview of his works of the last 10 years. Hex saw himself as a sculptor at a young age and sold his first sculpture when he was only 25. Successful exhibitions and scholarships followed, taking Hex to work in Italy, England, Namibia, the USA and Canada, among other places. He was admitted to the prestigious Royal Society of Sculptors and, in addition to steel, found other materials such as marble and bronze. With large-format illustrations, the publication introduces the versatile oeuvre of the award-winning artist.

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This book presents the work of Ceija Stojka (1933 2013), an Austrian Romni writer, painter, activist, and musician, and survivor of the Holocaust. Beginning in the 1980s, Stojka created over a thousand drawings and paintings, whose subjects range from landscapes and recollections of her happy, prewar existence as part of a large horse-trading family to the mounting oppression of the Roma under the Nazi regime. Having survived the three concentration camps Ravensbrück, Bergen-Belsen and Auschwitz as a child, Stojka left behind an oeuvre depicting her personal experience of arrests, exterminations, survival, and liberation, which was shared by millions. This book serves as an extension of the comprehensive Ceija Stojka exhibition that is hosted by the Austrian Cultural Forum New York between May and September 2023.

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Havana for trendsetters: the innovative fashion, art and architecture travel guide Havanna the vibrant capital of Cuba delights the visitor with its brightly coloured façades, American vintage cars and Caribbean flair. Along with the city's tourist hotspots, this guidebook leads you to the latest workshops of trendy fashion designers as well as selected architectural highlights, bars and shops which enable you to experience Havana in a completely new way as it undergoes its current transformation into a modern city. Re- and upcycling have been familiar concepts in Havana for decades. Now a young generation of designers has redeveloped the tradition born of necessity and produces artistic and affordable clothing and unique items. In view of the increasing shortage of resources and the littering of our planet, the metropolis provides inspiring examples for a sustainable fashion movement as well as for a gentle refurbishment and conversion of historical buildings. With addresses of se

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The grande dame of Norwegian Painting – teacher of Nikolai Astrup and Harald Sohlberg. Harriet Backer (1845–1932) was one of Norway’s most prominent painters of the 19th century and a pioneer among women artists in Europe. In 1880, she debuted in the Paris Salon and lived in Munich and Paris. Back in Oslo, she established a successful school for painters. This catalogue presents Backer to an international audience, thus giving her back the place she deserves in art history. Harriet Backer’s richly coloured interior scenes, sensitive portrayals of simple rural life, her portraits and still lifes are characterised by plein-air painting, realism and Impressionism. Her works stand out, not only in Norway, but also in the European context, when it comes to originality, scope and quality. The publication highlights her artistic achievements and places her oeuvre in the European context.

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The grande dame of Norwegian Painting – teacher of Nikolai Astrup and Harald Sohlberg. Harriet Backer (1845–1932) was one of Norway’s most prominent painters of the 19th century and a pioneer among women artists in Europe. In 1880, she debuted in the Paris Salon and lived in Munich and Paris. Back in Oslo, she established a successful school for painters. This catalogue presents Backer to an international audience, thus giving her back the place she deserves in art history. Harriet Backer’s richly coloured interior scenes, sensitive portrayals of simple rural life, her portraits and still lifes are characterised by plein-air painting, realism and Impressionism. Her works stand out, not only in Norway, but also in the European context, when it comes to originality, scope and quality. The publication highlights her artistic achievements and places her oeuvre in the European context.

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Illustrious turning point – Augsburg as the centre of the German Renaissance. Hans Holbein the Elder and Hans Burgkmair are regarded alongside Albrecht Dürer as the forerunners of Renaissance painting in Germany. The prosperous Imperial and trading city of Augsburg was an important centre during this artistic golden age. By means of high-quality works this volume presents a comprehensive insight into the epochal revolution from the Middle Ages to the modern age. Augsburg was influenced by the humanist culture of Italy from an early stage. Thanks to the art-loving trading houses with international operations like the Fuggers, as well as the long sojourns of Emperor Maximilian I and the frequent Imperial diets, the city offered artists like Holbein the Elder and Burgkmair an ideal setting for the development of a new form of art. Together with the works of Dürer, Holbein the Younger and others, many of their most important works bear witness to the highly fertile and yet contrasting ways in which the two artists adopted the Italian Renaissance.

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An extraordinary collection of texts and images compiled by Wolfgang Laib. Wolfgang Laib: The Beginning of Something Else combines texts that are particularly important for the artist’s creative work, together with a variety of selected images. Included are, for example, passages from the "Epic of Gilgamesh", a poem by the Buddhist monk Bodhidharma, and thoughts by Friedrich Nietzsche. The texts and images are combined to create an unusual publication, which reflects Wolfgang Laib’s (b. 1950) interest in literature as well as some of the most important sources of inspiration for his sensitive work. This collection reveals Wolfgang Laib in a subtle and personal way. It sheds light on an artist whose work, which dates back to the 1970s, has questioned our treatment of nature, and thus could not be more topical.

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Analivia Cordeiro – a female perspective in media art. Considered a pioneer in both video art and computer-based video dance as well as an innovator in body art, the Brazilian artist, dancer, and choreographer Analívia Cordeiro (*1954) has been developing since the early 1970s a continuous and intense work exploring the relationships between body, movement, visual and audiovisual art as well as media art. “No matter what age, no matter how much dance experience, everyone can learn through movement." (A. Cordeiro) Since the early 1970s, Analívia Cordeiro has been one of the first female video artists to influence all of South America's media art. This publication presents the artist's body of work up to the present. In addition to an introductory text by the editor, it contains an interview with the artist, and a selection of texts by various authors and the artist herself. An extensive section of works with many illustrations, historical documents and photographs as well as a detailed biography and bibliography complete the book.

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The artistic gaze into the mirror – Egon Schiele personally and in close-up. Many artists share the desire for involvement with the self and their own appearance. In the oeuvre of Egon Schiele, self-portraits occupy a central role. Over a period of many years Schiele recorded himself in various poses and styles. This publication focuses in detail on this crucial and yet often only marginally mentioned aspect of his art. Egon Schiele’s contorted and eccentric figures are among the world’s iconic images. For many of these works he and his own body served as model. His interest often lay not in his own self, but more generally in the position of the individual in the changing modern world. As in experimental arrangements, Schiele poses in a variety of roles. In doing so he “uses” his face and wears it like a mask. The publication offers a comprehensive representation of this life theme of the artist genius.

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Discover women artists and make connections across time, medium and genre. The National Museum of Women in the Arts, Washington, D.C. – the first museum in the world solely dedicated to championing women through the arts – has a collection spanning five centuries and featuring artists from six continents. This book shares recent acquisitions and longtime favourites; its thematic organisation leads readers to new discoveries. NMWA’s new collection highlights catalogue helps readers make connections across art history and discover women artists. Lush imagery features key artworks by Louise Bourgeois, Lalla Essaydi, Frida Kahlo, Hung Liu, Clara Peeters, Faith Ringgold, Niki de Saint Phalle, Amy Sherald, Alma Woodsey Thomas, and many others. In spotlight essays, writers from the museum – alongside more than thirty guest artists and scholars – share stories that illuminate the unique works and mission of NMWA.

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Painting as simulation and hyperreality: Peter Halley and the digital age. In the 1980s, Peter Halley revitalised painting by relying on sociology and science fiction. He employed fluorescent colours and Roll-A-Tex to deconstruct early and mid-twentieth-century transcendent geometric abstraction into abstract cells and prisons and by adding conduits to imaginatively access outside forces. Peter Halley has met many challenges posed by the Information Age and French poststructuralism by situating his painting on the divide separating analogue and digital worlds. Robert Hobbs's monograph analyses Halley's geometric and highly keyed art in terms of opportunities provided by the Internet, aesthetic possibilities afforded by Photoshop, timely relevance advanced by Michel Foucault's and Jean Baudrillard's sociological theories, and conundrums presented by both science fiction and physics.

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Dive into the art world of the closely allied artists Mark Dion & Alexis Rockman. Mark Dion and Alexis Rockman: Journey to Nature’s Underworld accompanies the first two-person survey exhibition of these closely allied artists, offering a compelling tour through ecological concerns central to their celebrated careers and into the shadowy depths of the threatened natural world. Mark Dion and Alexis Rockman were among the earliest contemporary artists to address, and even anticipate, the epic ecological problems we now face. This publication unites some twenty-five sculptures and paintings by both artists along with selected works on paper and a major new collaborative diorama. As explored in the book’s introduction, an essay by Lucy R. Lippard, and a new joint interview, the artists probe our strained relationship with the environment and the consequences of reigning ideologies about nature.

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In her elective home country of Mexico, the artist Olga Costa (1913–1993), a native of Leipzig, has long been established as an important female voice of Mexican Modernism. This volume presents impressively her autonomous artistic work between Mexican and European Modernism, and follows the traces of her life from Germany out into the world and back again. As the daughter of a Jewish-Ukrainian musician, the autodidact Olga Costa emigrated to Mexico in the 1920s, where she explored her new surroundings in her painting. Throughout her life she was not only inspired by people’s everyday lives and the intensive colours of the landscape, but also by the dialogue with other artistic positions. It was not least Costa’s examination of questions of cultural identity and feminism as well as her broad cultural-political commitment that made her one of the most important women artists in the circle surrounding Frida Kahlo.

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This first full biography confirms Florine Stettheimer as one of the 20th century’s most significant, progressive artists whose work remains highly relevant today. Stettheimer was a feminist and a multi-media artist who painted several sexually explicit, political works examining identity issues documenting New York City’s growth as the centre of cultural life, finance, and entertainment between the World Wars. During her first 40 years in Europe, Florine Stettheimer studied academic painting and was aware of all the earliest modernist styles ahead of most American artists. Returning to New York, she and her sisters led an acclaimed Salon for major avant-garde cultural figures including Marcel Duchamp, the Stieglitz circle, poets, dancers, writers, etc. She showed her innovative paintings in over 46 of the most important museum exhibitions and Salons, wrote poetry, designed unique furniture and gained international fame for her sets and costumes for avant-garde opera.

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The artist monograph presents a representative overview of the artistic work of Stéphane Zaech (* 1966). His paintings are technically sophisticated and are created through an investigation of the works of the old masters –Titian, Velasquez and Picasso. At the same time he distorts the “classical” picture types and translates them into contemporary art. Portraits of women artists painting, clad in a denim miniskirt and with flip-flops on their feet: Stephane Zaech’s works skilfully attract our attention – often through the bodies of his mostly female protagonists with their surreal addition of supernumerary arms and eyes. The facial expressions and gestures are invariably self-confident. The impressively designed monograph assembles over 100 paintings which were created in the past 10 years, permitting us to immerse ourselves in the fascinating world of Stephane Zaech.

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Kanishka Raja’s ravishingly patterned work, as the artist put it, “explores the intersection of representation craft, technology, and the gaps that occur in the transmission of information.” Conceptually heady and aesthetically alluring, Raja’s I and I series combines painting with woven, scanned, printed, embroidered, and reproduced counterparts. An artist’s practice rooted in New York and Kolkata, combining hybrid influences and strategies of variation, repetition, reversal, and mirroring.

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Jin-me Yoon is an important Canadian lens-based artist who has been working steadily since emerging on Vancouver’s contemporary art scene in the 1990s. Produced in tandem with a major exhibition at the Vancouver Art Gallery in 2022, About Time focuses on Yoon’s monumental and multifaceted production of the last decade, which typically combines photography, video, performance and installation. About Time focuses primarily on Jin-me Yoon’s most recent artistic practice. In these layered works, Yoon continues to address the subject matter of diasporic experience, colonialism, imperialism and militarism, but with a politicized awareness of what it means to live and work as a diasporic artist on land stolen from Indigenous peoples. Characterized by a restrained poetic style, use of slowness and repetition, and sensory use of sound, Yoon’s recent corpus is undergirded by a strong environmentalist thrust. Recurring tropes of this mature phase of her work include cinematic tableaux of individuals integrated within the Pacific West Coast’s stunning natural landscapes.

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Mary Mattingly is a visual artist. She founded Swale, an edible landscape on a barge in New York City. Docked at public piers but following waterways common laws, Swale circumnavigates New York's public land laws, allowing anyone to pick free fresh food. Swale instigated and co-created the "foodway" in Concrete Plant Park, the Bronx in 2017. The "foodway" is the first time New York City Parks is allowing people to publicly forage in over 100 years. It's currently considered a pilot project. Mattingly recently launched Public Water with More Art and completed a two-part sculpture “Pull” for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts, two spherical ecosystems that were pulled across Habana to Parque Central and the museum. In 2018 she received a commission from BRIC Arts Media to build "What Happens After" which involved dismantling a military vehicle (LMTV) that had been to Afghanistan and deconstructing its mineral supply chain. A group of artists including performance artists, veterans, and public space activists re-envisioned the vehicle for BRIC. In 2016 Mattingly led a similar project at the Museum of Modern Art. In 2014, an artist residency on the water called WetLand launched in Philadelphia and traveled to the Parrish Museum. It was employed by the University of Pennsylvania’s Environmental Humanities program until 2017. Mary Mattingly’s work has also been exhibited at Storm King, the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art News, Sculpture Magazine, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, and on BBC News, MSNBC, NPR, WNBC, and on Art21. Her work has been included in books such as the Whitechapel/MIT Press Documents of Contemporary Art series titled “Nature” and edited by Jeffrey Kastner, Triple Canopy’s Speculations, the Future Is... published by Artbook, and Henry Sayre’s A World of Art, 8th edition, published by Pearson Education Inc.

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Around 1500, Lucas Cranach the Elder steps onto the world stage – in Vienna. The publication explores this, the artist’s earliest period of work and presents all the paintings he produced during this time, their expressiveness radically different from the courtly-elegant compositions he subsequently produced as court painter in Wittenberg. Lucas Cranach the Elder (1472–1553) produced his earliest works around 1500 in Vienna, shortly before moving to Wittenberg to become court painter to the Elector of Saxony. These brilliant paintings, drawings, and woodcuts document both the thirty-year-old’s close contacts with the humanist circles of Konrad Celtis and Johannes Cuspinian, and identify him as a precursor of the so-called Danube School.

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Heroes: Principles of African Greatness is a multi-layered project that relays the stories of the key heroic principles and people in Africa’s arts and history, and considers the core values of leadership – justice, integrity, generosity and empathy. Each artwork in Heroes is paired with a historic African person, a “hero in history,” who embodies the thematic value featured in the selected work. Showing nearly 50 artworks from more than 40 artists, the book is designed in an aesthetic reminiscent of a graphic novel or superhero comic book. With multiple paths and points of entry, it encourages readers to explore, consider and make their own connections. In addition, author Kevin Dumouchelle has included reference information, and offers his reflections on related songs from a curated playlist. An essay weaves together a brief discussion of the project’s goals and grounding. Find your own way in this spirited cosmos full of surprises and values!

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Katharina Grosse (*1961) is considered to be one of the defining painters of her generation; her powerfully colourful interventions have had a determining effect on contemporary art dialogue. Grosse’s works cross the boundaries of space and concept with expansive gestures and enormous vitality and call for a new reception culture. Katharina Grosse’s spectacular projects – as seen, for example, in the recent solo exhibitions in the Hamburger Bahnhof in Berlin, the Baltimore Museum of Art and the Helsinki Art Museum – reveal a powerful and expansive painting that celebrates the processual, the unfinished and the ostensible. The handsome publication presents impressive images which lead the reader through Grosse’s multidimensional work and illustrate the broad creative spectrum of this exceptional artist’s oeuvre through the most recent examples of her in-situ praxis.

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A discovery: Polish Symbolism between decadence and a new beginning The turn of the century was a golden age for Polish art. The publication shows about 130 masterpieces of painting from this era between decadence and a new beginning and describes its roots in Polish history, culture and nature as well as the close connections with the European art scene. Polish painting in around 1900 carries us into a world of myths and legends, into dream-like landscapes, old traditions and customers, into the depths of the human soul. In a nation without its own state – until its independence in 1918 Poland was divided between Russia, Prussia and Austria-Hungary – a young generation of artists emerged to renew painting. They gave it a common identity, but joined forces at the same time with the European avant-gardes. Artists featured: Teodor Axentowicz, Olga Boznańska, Józef Chełmoński, Władysław Czachórski, Julian Fałat, Wojciech Gerson, Aleksander Gierymski, Gustaw Gwozdecki, Vlastimil Hofman, Władysław Jarocki, Konrad Krzyżanowski, Jacek Malczewski, Jan Matejko, Józef Mehoffer, Edward Okuń, Józef Pankiewicz, Władysław Podkowiński, Witold Pruszkowski, Ferdynand Ruszczyc, Kazimierz Sichulski, Władysław Ślewiński, Kazimierz Stabrowski, Jan Stanisławski, Henryk Szczygliński, Włodzimierz Tetmajer, Wojciech Weiss, Stanisław Witkiewicz, Witold Wojtkiewicz, Leon Wyczółkowski, Stanisław Wyspiański

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Well-known for his etchings on bark paper featuring dazzling skeleton-characters working, celebrating, walking the streets, or crossing borders, Nicolas De Jesús’s political commitment is also expressed through powerful large-scale paintings that tackle a wide range of urgent themes including immigration, human rights, and environmental instability. Nicolas De Jesus’s art offers a nostalgic and yet lucid interpretation of our world. While his art emerges from Mexican artistic traditions, it is coupled with his international experience in cities like Chicago, Paris, and Jakarta. His work also addresses crises like the storming of the US Capitol, the repression faced by migrants and Black Americans, and the disasters of COVID 19. Covering three decades of artwork, this book offers a challenge to the conventional definition of contemporary art. With essays by Felipe Ehrenberg (late contemporary artist, Mexico); Patrice Giasson (Alex Gordon Curator of Art of the Americas, Neuberger Museum of Art); Aline Hémond (Professor of Anthropology, Université de Picardie-Jules Verne); Julian Kreimer (Associate Professor of Art History, SUNY-Purchase); Caroline Perrée (art historian; Associate Researcher, CEMCA); Pablo Piccato (Professor of History, Columbia University)

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In 1991, the town of Pulheim initiated the Stommeln Synagogue art project, a permanent process of examination of this historically significant location. Since then it has continued to make a contribution to a culture of remembrance. A wide-ranging overview of remarkable works is being assembled on the occasion of the 30th anniversary of the synagogue. Far from the day-to-day business of culture, international artists have repeatedly taken up the challenge of developing works for the silent building in a remote setting and its remarkable historical context. Virtually all the works were specially designed for the location with its architecture and history; the overview publication shows how they enter into a close inter-relationship, how they define the space and are equally themselves defined by its field of tension. The synagogue in the Stommeln district of Pulheim is one of the few ynagogues in Germany that was not destroyed during the pogroms of 1938 and that did not fall victim to the wave of demolitions that took place after the war.

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In 2019, Wolfgang Laib entered into a dialogue with masterpieces by Fra Angelico, Leon Battista Alberti, Filippo Brunelleschi and Benozzo Gozzoli in his philosophical and poetic installations of pollen and beeswax. The publication documents impressively this unique and spectacular art event. Following an invitation from the Museo Novecento in Florence, Wolfgang Laib – one of the outstanding artists of the present day – created five works in four of the city’s main sights, including the convent of San Marco and the Pazzi Chapel. In their juxtaposition with the historic masterpieces, the delicate pollen sculptures and the imposing beeswax ziggurat cause the contrast between present and past, physical place and endless space, and real and spiritual life to become blurred and lead us towards the central questions of life.

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People between light and shade, love and despair, closeness and distance, calm and restlessness. Miwa Ogasawara’s painting represents the attempt to approach Man quietly in all his nuances. In her pictures she captures the brittle, shimmering present, the beauty and the fragility of our existence. Miwa Ogasawara explores in her works the question of the relationship between Man, space and time. Whether the figure is standing at the centre of the composition, whether it is to be found on the boundaries between the interior and the exterior, or whether it evaporates, it always asserts its omnipresence. Her pictures are painted moments of reflection, in which the countless impressions, feelings and thoughts of her protagonists come to life. This volume presents a selection of 80 works including some of the latest ones, accompanied by two essays.

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Apart from the range of materials such as natural stone, metal, wood, plaster, sand and glass, the sculptures of Heinz Mack are characterised by their elemental, powerful nature in connection with light and/or movement. In his late works the artist continues to develop themes from earlier work phases, such as the stele with its ability to transform light and determine space. Typical of the last twenty years is his increased focus on sculptures of stone like granite or marble, sometimes of monumental size. Languages: English and German

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The Jablonka Collection is regarded as one of the highest-profile repositories of American and German art of the 1980s. In this catalogue the art dealer, gallerist and curator Rafael Jablonka (*1951) provides for the first time an insight into his wide-ranging collection, which is dedicated primarily to artists of his own generation.Rafael Jablonka has collected art for decades according to the basic principle of assembling multiple works from the different creative phases of artists. With some 120 works –paintings, works on paper, sculpture and installations –the catalogue introduces the oeuvres in question and shows a representative cross-section of the extensive Jablonka Collection, which was presented to the Albertina on permanent loan in 2019.

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The Bauhaus master Johannes Ittenis one of the prominent protagonists of early Modernism in twentieth-century art. Few people are aware of the close links between his beginnings as an artist and his experience of landscape and nature in the town of Thun and Lake Thun. Johannes Itten gained decisive impulses for the development of his concept of art and his path towards abstraction through various stations and sojourns in Thun and its surroundings. By means of examples of the representations of nature in his early work the publication shows in scholarly depth how Itten discovered his own, very personal and later internationally famous approach to art and painting style and presents his pictorial transformation of natureextending through to the artist’s late works.

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Inspired bya private archive and including contemporary work by artists who acknowledge the continued relevance of Angela Davis’s experience and politics, the essays, interviews, and images in this book provide a compelling and layered narrative of her journey through the junctures of race, gender, economic and political policy.Beginning with the arrest, trial, and acquittal of Davis, 1970-72, and continuing through her world tour to thank those who joined in demanding her release and her influential career as a public intellectual, the book examines fifty years of history in light of the current political moment. Profusely illustrated with materials found in the archive (press coverage, photographs, court sketches, videos, music, writings, correspondence, and Davis’s political writings), the book includes an interview with Angela Davis and Lisbet Tellefsen, the archivist who collected these materials, as well as essays that ouch on visibililty and invisibility, history, memory, and the iconography of black radical feminism.

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The Italian-American artist Francesco Clemente (b. 1952) is one of the main representatives of the postmodern Transavantgarde and Arte Cifra, the Italian version of Neo-Expressionism. Among his extensive oeuvre, the publication focuses on Clemente’s major works series. Clemente’s life spent in Europe, India, and New York has lent a remarkably multifaceted quality to both his art and his character. Indian culture and philosophy as well as the human body are recurring themes rendered in his figurative, Neo-Expressionist style. This volume guides through Clemente’s pastels, watercolors, gouaches, and printed graphics, including such major series as The Departure of the Argonaut, the From the Terreiro pastels, the Amalfi watercolors, and The Tarots, as well as his self-portraits, which have a quality all their own.

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EXODUS tells the true story of a Jewish girl from Hungary. After her parents were abducted by the Nazis, she and other orphaned children were forced to shift for themselves amid thetotal destruction throughout the country. In 1947 she found a place on board the refugee ship Exodus, which was to carry her and over 4,000 Holocaust survivors to Palestine. What followed was a dramatic odyssey lasting for several weeks.On her fifth birthday Ticka was given a cat, which she called Pitsy. When the Nazis came, they both hid in the wardrobe, where Ticka would have been discovered if Pitsy had not leapt out of the cupboard instead. Ticka was left alone in wartime without her parents. She pretended to be a deaf-mute child and travelled right across Europe by train to board the Exodusin France. The refugee ship was then forcibly prevented by British warships from travelling to Palestine. The refugees were taken back and interned in Germany. Only months later could the voyage begin again. Ticka finally reached Israel in May 1948. With expressive drawings, sensitive dialogue and diary-like texts the author Esther Shakine tells her own fate through the story of little Ticka. It is a moving graphicnovel, which presents the trauma of war, persecution and homelessness from a child’s point of view, but alsocivil courage, hope and humanity.

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Teresa Margollesabstracts the subject of terror: she extracts the body into abstract forms which are manifest in fired bricks or in mud, water and blood-soaked cloths. They form a memorial to the victims of the Mexican drug wars and the waves of migration.Violent death is the central topic in the art of Teresa Margolles. The Mexican artist often uses materials derived from corpses or which have come into contact with them, including human blood or water from the washing of dead bodies. In her pictures, sculptures, installations, performances, videos and photographs she examines the brutality of death within the context of the Mexican drug war, migration and unjust social conditions as well as gender hatred.

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In 1959 Daniel Spoerri pioneered the first programmatic series of multiples―three-dimensional objects issued in edition―to be broadly distributed. With a radical emphasis on multiplication and movement, Edition MAT (Multiplication d’art transformable) presented an international selection of work by key figures in postwar kinetic and Op art. Multiplied is the first in-depth English-language study of this seminal project in the history of postwar art. The catalog presents the entirety of the three collections—1959, 1964, and 1965—consisting of 48 artworks by 35 European and US artists associated with kinetic and Op art, including such leading figures as Marcel Duchamp, Dieter Roth, and Jean Tinguely, alongside lesser known artists. With four essays, artist entries, and an appendix of newly translated historical texts, this volume sheds light on under-studied artworks as well as the body of critical thought connecting art, commerce, and display in the postwar period. Artists: Yaacov Agam, Josef Albers, Arman, Jean Arp, Enrico Baj, Davide Boriani, George Brecht, Pol Bury, Christo, Gabriele De Vecchi, Marcel Duchamp, Bo Ek, Robert Filliou, Karl Gerstner, Maurice Henry, Julio Le Parc, Roy Lichtenstein, Heinz Mack, Frank J. Malina, Enzo Mari, Christian Megert, François Morellet, Bruno Munari, Arnulf Rainer, Man Ray, Dieter Roth, Jesús Rafael Soto, Daniel Spoerri, Paul Talman, André Thomkins, Jean Tinguely, Victor Vasarely, Jacques Villeglé, Emmett Williams

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ReVisión: A New Look at Art in the Americas considers what makes the Americas the Americas. With essays by leading scholars of Latin American art history, the publication explores the ways in which the past continues to exert an influence on communities throughout the region. Artists such as Alexander Apóstol, Juan Enrique Bedoya, Johanna Calle, Ronny Quevedo, Sandy Rodríguez, Eduardo Sarabia, Clarissa Tossin,and Cecilia Vicuña draw on centuries of imagery from both before and after the Conquest to grapple with questions of identity, exploitation of natural resources, and displacement. The essays in this catalog provide a framework for understanding the region’s nuanced history of creation, destruction, and renewal.

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László Moholy-Nagy (1895–1946), painter, photographer, Bauhaus teacher and founder of the “New Bauhaus” and the “School of Design” in Chicago, is one of the most important artist personalities of the modern age. As one of the first artists to work in multiple media, who practised painting, sculp-ture, photography, film and design as equally valid art genres, he set stan-dards which are still relevant today.Appointed to the Bauhaus in Weimar by Walter Gropius in 1923, Moholy- Nagy also followed him to Dessau before leaving Nazi Germany in 1933, eventually finding a second home in Chicago in 1937. Both as a teacher and an artist he pursued his revolutionary vision of uniting art and life in order to permit artistic activities to flow over into everyday life. Moholy- Nagy made an important contribution in particular in the recognition of photography, which as a new medium had hitherto not been regarded as art. This volume provides excellent insight into the life and work of the avant-garde artist.

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Five hundred years ago, the landing of Hernán Cortés in Mexico marked the end of the Aztec Empire. This volume presents the wealth of this culture with spectacular, sometimes unpublished finds: rare feathered shields, impressive stone sculptures, precious mosaic masks and goldwork as well as brilliantly coloured illustrated manuscripts bring the world of the Aztecs to life.The publication provides comprehensive insight into the fascinating history of the Aztec Empire and takes into account the latest results of research and archaeology. Renowned experts tell of the political, societal and economic structures, of cultural achievements such as the complex calendar system and the Aztec language, and of religious rites. Precious objects from the magnificent furnishings of the palace of Emperor Moctezuma and the main temple Templo Mayor, including recently discovered sacrificial offerings that have never previously been exhibited, bear witness to the high standards of Aztec art and craftsmanship.

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The Japanese artist Koho Mori-Newton is a master when it comes to handling silk, which he places in an exciting dialogue with architecture. In this way he creates cult-like spaces which interact with light in a fasci nating way. In addition to the works in silk, this volume also shows various graphic work groups from the last 35 years as well as the Path of Silk, created especially for no intention. Koho Mori-Newton (*1951) is a master of intentional lack of intention. His works appear simple, but the aesthetic which lies behind them is complex. Time and again he investigates the basis of art itself, questions the concept of the originality of the artistic creative process and explores the boundaries of artworks. His oeuvre lures us into a world that exists beyond the obvious. Path of Silk, a labyrinthine installation of room-high panels of silk, worked in China ink by Mori-Newton, presents a fragile interplay of space and light, of heaviness and lightness. Further areas of focus in his creative work are repetition and copy, from which his graphic works derive their own special charm.

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Created in one piece and without cutting the surface, Peter Weber’s works position the phenomenon of folding in the field of vision of their viewers. The entire bandwidth of his oeuvre, extending back over 50 years, is now being compiled and acknowledged in a two-volume catalogue raisonné.After his studies in the Department of Design at the University of Applied Sciences in Hamburg, Peter Weber (*1944) continued to focus his entire attention on the creation of concrete art. His early years as a painter were determined by Op-Art and the imaginary space, but he soon became fascinated by the mathematical diversity of the techniques of folding. In addition to felt and paper the artist also uses materials such as linen, cotton, plastic and steel – always uncut and as a whole. The catalogue raisonné assembles in Volume 1 the seven main work groups with explanatory essays. Volume 2 lists chronologically over 1,700 works from all creative periods.

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This richly illustrated book features an introduction by the National Portrait Gallery’s chief curator and nearly 150 insightful entries on key self-portraits in the museum’s collection. Eye to I provides readers with an overview of self-portraiture while revealing the intersections that exist between art, life, and self-representation. Drawing primarily from the museum’s collection, Eye to I explores how American artists have portrayed themselves over the past two centuries. The book shows that while each individual approaches self-portraiture under unique circumstances, all of their representations raise important questions about self-perception and self-reflection. Sometimes artists choose to reveal intimate details of their inner lives. Other times they use the genre to obfuscate their true selves or invent alter egos. Today, with the proliferation of selfies and the contemporary focus on identity, it is time to reassess the significance of the self-portrait.

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The Architecture of Expressionism is the upheaval of architecture in the roaring twenties – with regionally different emphases, schools and protagonists. The series’ third volume documents all surviving buildings in Poland, the Czech Republic and Slovak ia. The shared heritage of this important European region is presented in a fascinating rediscovery. The enthusiasm for the expressionist metropolis, an architecture of complexity, verticality and theatricality, in the 1920s captured also East - Central Euro pe. Despite regional differences, the surviving fragments bear witness to a determined will of form and a rich, skilful handling of colour, material and light. Joint together, the buildings tell the story of the expressionist vision of a new modern society . In contemporary photographs and plan drawings Fragment of Metropolis – East documents 170 buildings in Bratislava, Brno, Gdansk, Hradec Králové, Katowice, Kraków, Legnica, Prague, Szczecin, Ústí nad Labem, Warsaw, Wroclaw, as well as many other places. A detailed index and clearly arranged maps complete the reference work.

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I 2019 er det 150-årsjubileum for Harald Sohlbergs fødsel. Utstillingen i Nasjonalgalleriet høsten 2018 og i London og Wiesbaden i 2019 vil danne en flott opptakt til aktiviteter og fornyet interesse for denne viktige norske kunstneren. Magiske landskaper, myke blomsterenger og kalde vinternetter: Sohlbergs motivkrets kombinerer elementer fra en romantisk naturoppfattelse med tendenser fra det samtidige kunstuttrykket. Hans bilder tilhørte ingen spesifikk kunstnerisk retning, selv om den er sterkt knyttet til symbolismen. Det er spenningen mellom det tradisjonstro og det moderne som gjør hans billedverden spesiell både i norsk og internasjonal sammenheng. Utstillingskatalogen presenterer rundt 60 malerier samt en rekke av kunstnerens tegninger, trykk og fotografier. Katalogtekstene setter Sohlberg inn i en kunstnerisk kontekst, både når det gjelder forholdet til tidligere tiders kunst og hans samtidige norske og internasjonale kollegaer. Sohlberg hadde noen spesifikke steder han hentet sine motiver fra. Den stedlige tilknytningen til Rondane, Røros, Oslo og Helgeroa inngår som et viktig gjentagende element i hans billedverden. Bildene til Sohlberg legger til rette for at betrakteren skaper sine egne fortellinger. I mange av landskapsmaleriene er fraværet av mennesker påfallende, ikke minst fordi de samtidig inneholder spor etter menneskelig aktivitet; landbruk, bygninger, veier, telegrafstolper, industri, for å nevne noe. Mennesket og det moderne liv i historiske omgivelser er et sentralt tema, ofte med et modernitetskritisk blikk.

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1918 marked the end of a golden era: it was the year that Gustav Klimt, Egon Schiele, Koloman Moser, and Otto Wagner died. Artistic activity, however, had already freed itself of their influence. Hardly affected by the political disruptions taking plac e, artists in the countries of the former Austro - Hungarian monarchy were busily productive, driven by a desire for a new start. The period between the two World Wars is characterised in the arts by international networks that transcended political and id eological borders. A lively artistic exchange took place, stimulating constructive, expressionist, and fantastic tendencies. An increasingly important role was played by magazines that disseminated new positions. The outbreak of World War II abruptly inter rupted these cosmopolitan art networks. This publication examines the fascinating, artistically fruitful epoch between the wars.

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What could the primarily Western collection of the Nationalgalerie look like today if a global understanding of art had informed its development? Looking at artworks from non-European centres of Modernism and their activities, untold stories and overlooked connections are picked up and developed. The Nationalgalerie Berlin subjects its collection to a critical revision, focusing on those areas of the collection which are not central to a Western understanding of art. Starting points include Heinrich Vogeler’s turn to the Soviet Union, the Dadaist Tomoyoshi Murayama’s sojourn in 1920s Berlin, and Joseph Beuys’ collaborations with Nicolás García Uriburu. The result is a narrative of art from 1900 to the present which, from a global perspective, selectively takes up and explores historical, international, and transregional connections between artists and cultural contexts.

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In her series of images “Monkey Business” the artist Beate Passow portrays a mysterious fairy - tale world of political dimensions. The black and white images, which upon closer observation turn out to be sophisticated tapestries, question the ruling syst ems, economic structures, and political movements of contemporary Europe. A Barbary macaque sits on a martial gun barrel in Gibraltar, a powerful bear mounts a bull, a skeleton - like figure strides over destroyed refugee boats on Lampedusa. The strange fi gures that inhabit “Monkey Business” narrate a penetrating mythology of the 21st century. In her narrative approach Passow subverts the established tapestry tradition, not praising rulers and heroes, but directing criticism – at today’s Europe. Once celebr ated as the stronghold of democracy and humanism, it is today marked by a military defensive stance at its borders, by a thoroughly corrupt capitalism, and by increasingly brazen Neo - Nazi movements.

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In decades of artistic production Gerhard Berger (born in 1933) has arrived at a unique, characteristic visual language. His representation of humans, oscillatin g between figurative and abstract painting, is rooted in the great myths of humankind and in the religious visual conceptions of the world’s cultures. Gerhard Berger approaches his works deliberately: each picture is preceded by a long w ork process of sketching and testing the projected figurative forms in a previously established grid of the visual space. The graphic techniques learned in his youth, in particular typography, remain recognisable in this working process. Berger also impart ed his precise method of working during his tenure at the Academy of Visual Arts in Munich. Since 1999 he has dedicated himself entirely as a freelance painter and graphic artist to his own visual universe, one that invites the observer to read and analyse its play of forms.

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Innovative Impressions explores an under-examined aspect of three impressionists’ careers: their groundbreaking prints and the new techniques they developed through collaboration and experimentation. In 1879, Mary Cassatt, Edgar Degas, and Camille Pissarro formed the most active core of a group of artists planning a periodical to feature their prints. Through this collaborative effort they challenged each other to develop a new language of printmaking whose visual and expressive potential went well beyond the traditional reproductive purpose of the medium. Indeed, the intimacy of small-scale works on paper at times spurred the artists to be even more daringly creative than they were in their paintings. Their interactions and engagement with printmaking varied over time, culminating in the 1890s, when each developed distinctive methods of introducing color into their work. For much of their careers this unlikely trio of artists inspired and challenged each other, and these dynamics played a crucial role in their creative processes.

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