Search results for ""Hirmer""

Henry Moore has influenced the history of twentieth - century sculpture more decisively than anyone else. He was one of the first contemporary sculptors to realise his ideas in the public space throughout the world. His oeuvre was a lasting source of inspiration for an entire generation of artists – from Hans Arp, Alberto Giacometti and Pablo Picasso to the younger generation of German sculptors. Henry Moore (1898 – 1 986), known as the “Picasso of Sculpture”, is regarded as one of the most important sculptors of the twentieth century and the epitome of the modern artist. Typical of his work is the interrelationship between nature and abstraction. He discovered the “voi ds“, so - called openings and holes which heighten the sculptural, three - dimensional effect of his works. With this new approach Moore exercised a strong influence on younger sculptors, who gained decisive impulses from his sculptures. This volume presents M oore as the dominant personality of modern sculpture in collaboration with the members of the younger generation of artists.

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The catalogue presents for the first time the rich Tibetan artistic heritage through the collection of Michael and Justyna Buddeberg: carpet manufacture, craftwork in metal and the manufacture of furniture. Previously neglected aspects of everyday Tibetan culture are explored and make the catalogue an essential starting point for further research. The Buddeberg collection includes masterpieces of Tibetan art in textile and metal work and presents us with hitherto disregarded asp ects of the Tibetan approach to art. Carpets for sitting on or as a riding accessory played a central role in their traditional culture but have hitherto been neglected in research, as has metal craftwork, which focused on the ornamentation of end knobs on the poles supporting the cultic paintings. The lavishly illustrated catalogue closes this gap and presents together with contributions by acknowledged specialists an in - depth overview of the fields of carpet and textile art, metalwork and furniture produc tion.

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With his artistic works, the sculptor Winfried Baumann (* 1956) evokes questions of social responsibility and the perception of contemporary social forms. His subjects are highly topical both as regards content with respect to social and urban-planning visions, and also formally as they cross the borders between fine art and applied design. For over thirty years the sculptor Winfried Baumann has focused his attention in the ecological problems which are increasingly advancing to become a question of survival for civilised society. Refuse, slag from the burning of refuse, waste oil and other waste products from our consumer society are materials which he has been using since the mid-1980s for his three-dimensional works and large-scale installations. In his very extensive group of works “Cathedrals” Winfried Baumann examines, for example, waste-disposal plants for large urban spaces, with the protection and marking of nuclear contaminated sites, waste-disposal facilities for large urban spaces and intermediate urban spaces and with the subject of urban mining.

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Roland Fischer’s “Façades” are spectacular photographic pictures: a visual grammar of architectural structures, an alphabet of abstract forms full of art-historical references. Roland Fischer (b. 1958), whose work is exhibited worldwide in important museums, lives and works in Munich and Beijing. Since the 1990s the artist has been photographing the exteriors of buildings, of banks, corporate headquarters and museums in the metropolises of the world, including Beijing, Tokyo, Shanghai, New York, Hong Kong, Melbourne, Osaka, Boston, Brasilia, Los Angeles, Paris, São Paulo, Singapore, Dallas, Madrid, Washington, Mexico City, Chicago, Toronto, Chongqing and Montreal. The results of this breathtaking project form an unusual series of some 100 façades: a vocabulary of global architecture, an inventory of city landmarks. The structures and colours of the contemporary metropolitan universe are transformed into pictures that resemble abstract paintings.

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Christine Ljubanovic’s portrait photographs of famous artists, curators, critics and writers lie between classic portraits and experience reports. Developed as a complete contact sheet, they are living reports of the artists’ encounters and also include the environment of the subject of the portrait. The publication shows for the first time an overview of conversation portraits by Christine Ljubanovic which have been created over the past forty years. During this time she met, amongst others, Thomas Hirschhorn, Gisèle Freund, Yoko Ono, Peter Weibel, Arnulf Rainer, Hans-Ulrich Obrist, Alfred Pacquement and Raoul Schrott, who has also contributed a poem to the volume. With the selection of 60 portraits she has thus produced a comprehensive picture of today’s artistic and cultural scene. In each case the artist and the subject of the portrait chose the meeting place together, so that it provides the framework for the photographic conversation.

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In the 1990s the landscape architect Peter Latz and his team designed and executed a park that transcended all fashions and trends. This volume provides insights into twelve years of planning and realisation through photographs, sketches, plans and explanations, and reveals to the reader a fascinating world in the footsteps of industry. The Landscape Park Duisburg Nord is one of the most remarkable examples worldwide of an intelligent and appealing approach to dealing with the legacy of industry. In his vision for the park Peter Latz largely abandoned the concept of landscape art and of the beautification of agricultural and woodland organisational patterns. Instead, he focused on the information-rich web of urban infrastructure and industry. Peter Latz presents the first in-depth account of his knowledge and experience regarding this unique project in this book. Texts by renowned collaborators complement the narrative with differing perspectives.

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Schermuly’s mutable and original oeuvre led him out of an abstraction governed by visual rules and into the fascination of reality-inspired colour. The intensity of his gaze explored what the appearance of the world has to offer to a virtuoso colourist for a painting. He was interested not in recreation but in understanding the visible to develop colour phenomena suitable for painting. Profound knowledge of the history of the art of painting was for Schermuly a guarantee of his originality. The elaborately prepared and lavishly produced book presents an artist of rare distinction to the isms of the second half of the twentieth century.

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For ten whole months, from September 1814 to June 1815, the imperial residential city of Vienna was the centre of Europe. Never before had there been a comparable meeting of sovereigns and their ambassadors: two emperors (Tsar Alexander I, Emperor Francis I[II]), five kings (Frederick I of Württemberg, Frederick VI of Denmark, Frederick William III of Prussia, Frederick August I of Saxony, Maximilian I of Bavaria), also many princes and diplomats from practically all parts of the continent converged upon th e capital for the diplomatic proceedings. The re - ordering of the European continent aimed to secure political stability at last after the Napoleonic Wars. Europe’s borders were redefined, the political balance of power re - established. These diplomatic proc eedings were accompanied by entertainments of all kinds – balls, festivities, sleigh rides and receptions, also theatre performances and musical events, the splendours of which were documented in words and pictures. Vienna blossomed as the centre of social life; the enhanced purchasing power also boosted the economy, brought foreign painters into the imperial capital, and spurred on all genres of art production on the home front. Thus the city became the political, cultural and social nucleus of Europe. Wi th numerous historical photographs, paintings and historical documents the publication will show the impact that this meeting had on the whole European continent and especially on Vienna. Several essays will draw light on the political, the cultural and th e entertainment side of this event of the century.

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The French artist Annette Messager (b. 1943) is one of the most import ant personalities of the international art scene. Her extensive installations focus on the human body and its attributes. Fragmented and joined together again with thread to form something new, she thereby creates a cosmos that is both fascinating and radi cal. In more than 40 years of artistic creativity Annette Messager has developed her own, concentrated pictorial language. In the early 1970s she still worked mainly with stuffed birds, knitting and picture collections; later these were complemented by dr awings, photographs and installations with soft toys and clothes. By assembling and arranging the most delicate of elements she produces visually stunning works on the gender clichés of contemporary society. This bibliophile’s art book reproduces the late st installations in addition to her most impressive works. It is published to accompany the first solo exh ibition in a German museum for 2 5 years and provides an opportunity to rediscover the oe uvre of Annette Messager.

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Heinz Mack’s Sahara Project is legendary. In 1968 he installed for the first time light columns with a height of up to 11 metres which reflected and mirrored the glaring sunlight in the Tunisian desert. Nature and object fused to create an artwork of breath-taking beauty. This comprehensive volume records the history and ideas of this spectacular project over four decades. Sophia Sotke’s in-depth presentation traces an arc from the conception of the project in 1958/59 via the sensational film Tele-Mack (1968) and the subsequent “Expedition into Artificial Gardens” of 1976 in Algeria andGreenland to the artistic experiments which Mack carried out in the Wahiba Desert in Oman in 1997. The uestion regarding the importance of the Sahara Project in Mack’s oeuvre is examined together with his role in the development of Land Art. Hitherto unpublished photos of the expeditions into the desert and the Arctic regions provide new insights.

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The Saint Louis Art Museum has assembled one of North America's largest and most comprehensive collections of German Expressionist paintings. Rediscover a defining movement of modern art through this original study of works by 25 artists who span its famously wide arc. This is the first publication on the Saint Louis Art Museum's internationally renowned collection of German Expressionist art, which includes major works by the movement's leading artists and lesser-known figures rarely seen outside of Germany. Engaging entries delve into the paintings' histories, from their production to their arrival in St. Louis. An introduction traces the collection's origins to the flood of Expressionist art that entered the United States during World War II. What emerges is a new account of a pivotal era in modern art.

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Renowned for work that layers binary code with handmade craft, Fatimah Tuggar is one of the most original, incisive conceptual artists of the digital age. Tuggar’s sculp-tures, photomontages, videos, and interactive works challenge roman-ticized notions of both ancient traditions and recent inventions. Born in Nigeria and based in Kansas City, multimedia artist Fatimah Tuggar (b. 1967) interrogates the systems underlying human interactions with both high-tech gadgets and handmade crafts. She seeks to promote social justice by implicating everyone in these systems, while playfully proposing new ways of seeing and making. Her work destabilizes the attachment to a single city, nation, or continent as a “home” in a world of migrants who may move between different kinds of homes. The essays here address Tuggar’s œuvre within the confluence of the histories of conceptual art, tech art, and African art. In an interview with curator Amanda Gilvin, the artist reflects on the resonance of her early works and the goals of her new experiments in Augmented Reality (AR).

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Inspiration Islam – European artists in dialogue with Islamic art and culture. The art and architecture of the Islamic world strongly influenced the development of Western modernism. Some 170 works from the mid-19th century to the present day illustrate this fascinating cultural exchange. Beguiling examples of fine and decorative art reflect the diversity of this lively transfer. During the 19th century, Europe became caught up not only in Orientalism, but also in a real “Islamophilia”. Important collections of Islamic art were established. With the approach of modernism the view of these “foreign” influences changed. Artists of the avant-garde and masters of applied art sought inspiration for their own new style in the wealth of formal language and colourfulness characterized by Islamicate art. Positions of contemporary art to current Islamic discourse round out this multi-faceted publication. ARTISTS INCLUDE: Nevin Aladag | Baltensperger and Siepert | Marwan Bassiouni | Carlo Bugatti | Théodore Deck | Mariano Fortuny y Madrazo | Osman Hamdi Bey | Elisabeth Jerichau-Baumann | Wassily Kandinsky | Gulsun Karamustafa | Bouchra Khalili | Paul Klee | J.& L. Lobmeyr | Henri Matisse | Gabriele Munter | Lotte Reiniger et. al.

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The catalogue of the exhibition to be shown at the Cornell Fine Arts Museum, Winter Park, FL and the Frye Art Museum, Seattle, WA will present a choice selection of 19th century French paintings from the Musée des Beaux - Arts, Reims in order to trace the history of French art from the Romantics, to the School of Barbizon, the circle of Honfleur, and up to Impressionism. The Musée des Beaux - Arts, Reims owns the second largest collection of works by Jean - Baptiste Camille Corot after the Louvre as well as excellent landscape paintings by artists from the Barbizon School. Corot was one of the most significant painters involved with the Barbizonists. Studying the Reims holdings further it seemed evident to edit a catalogue and curate an exhibition that reach from the romantic spirit in French landscape painting to the School of Barbizon on to the group of artists around Eugène - Louis Boudin at Honfleur –– the true cradle of Impressionism –– and lastly to the Impressionists Claude Monet, Camille Pissarro and Pierre - Auguste Renoir.

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The contributions that have been assembled in this volume present the story of queer lives – from the first emancipation movements around the turn of the (last) century via attempts at self-empowerment in the Weimar Republic to the destruction of queer subcultures under the National Socialist regime and the continued discrimination of LGBTIQ* persons in the postwar period. Since the late 19th century, increasing numbers of people have self-assuredly championed the recognition of queer lifestyles. These pioneers formed collectives, made their voices heard and questioned dominant gender categories politically, scientifically and artistically. Through essays, interviews and artworks the authors and artists illustrate this struggle for recognition which was forcefully prevented and destroyed following the seizure of power by the National Socialists and almost forgotten after 1945.

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The English illustrator Anna Atkins (1799–1871) was in every respect a modern woman. For the publication of her plant collections she used the latest technology, the recently invented cyanotype. In 1843 she used the process to create the first photo book in history, with images of breathtaking beauty and originality which often look like modern art. At first Anna Atkins worked for and with her father, the zoologist John George Children; later she chose the objects for her scientific compositions herself: algae and ferns. Atkins placed them on light-sensitive paper that turned dark blue in water after being developed, with the exception of the places that had been covered by the plants. Initially alone, and then with her friend Anne Dixon, she produced well over 10,000 copies of her photograms and assembled them in several books like albums. Today these rare copies are regarded as treasures and are preserved in museums and libraries.

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The painting Paris Street, Rainy Day by Gustave Caillebotte (1848–1894) is an icon of Impressionism.This volume presents the work in the context of Caillebotte’s innovative artistic work, introducing him as a driving force in the establishment of Impressionism and describing his intensive exchanges with his fellow-artists. With its almost life-sized figures and unconventional perspective, Paris Street, Rainy Day was presented in 1877 at the third Impressionist exhibition and is regarded as one of Caillebotte’s principal works. The publication describes his personal interpretation of Impressionism, which convinces with its striking directness and bold image sections, as well as his activities as a patron of art. Caillebotte helped to finance and organize the Impressionist exhibitions and attempted as a collector to establish the works in public collections in a similar manner to that of Hugo von Tschudi with his spectacular purchases for the Nationalgalerie.

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Electro - mobility is the number one topic when it comes to our mobility in the future. What does the vision of the BMW Group, Germany’s main pioneer in the field, l ook like? For the first time providing extensive insight into BMW’s workshop of ideas, this volume presents the multi - faceted concept for sustainable and visionary mobility right up to autonomous driving. In the spring of 2008, a think tank of engineers, d esigners, trend researchers, and financial experts met on a factory floor of BMW’s parent plant in Munich to rethink mobility. This volume traces the exciting venture in its complex development, while also looking at the future. A main focus is on the major challenges of our time — climate change, scarcity of resources, megacities — and the solution approaches: technological innovations, networked mobility, and the use of renewable materials. Autonomous driving plays a particularl y important role. Terrific close - ups and design drawings present all models from the BMW i3 and the BMW i8 to the BMW i Vision Future Interaction.

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In 1970 in Munich Gerhard Richter met Brigid Berlin alias Brigid Polk, Andy Warhol’s legendary muse and enfant terrible of New York’s high society. This meeting gave rise to Richter’s important “Brigid Polk” series, based on Polaroid self-portraits by the eccentric artist: a dialogue between America and Europe, photography and painting, artist and muse. The series about Brigid Polk is an important record of Gerhard Richter’s photo paintings. It is exemplary of his struggle for a new self-concept of painting in dialogue with photography. This volume is the first to pay extensive tribute to this multifaceted series and traces the history of its creation, which revolved Heiner Friedrich, an important gallery owner in Munich. The personal reminiscences of those who were present at the time are particularly evocative of the avant-garde art scene of the 1970s.

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This unique book shows an album of photos taken in May & June 1913 when James Radley drove from London to Vienna via Paris, Mont Cenis Pass, Brescia, Riva del Garda, Dolomites, & Loibl Pass. His car was entered in the famous Österreichische Alpenfahrt, a gruelling 2650 kil ometre route with 19 mountain passes to drive across in seven days. On the journey out to Vienna, one of Radley’s passengers was his friend Reginald Hope, an amateur photographer who recorded the journey. Remarkably, both the car and Hope’s photo album su rvived, making it possible to recreate the journey with the same car and repeat the photographs in the identical locations exactly 100 years later, in May & June 2013. John Kennedy has been taking photographs since he could first afford to buy film for the family box camera. The digital cameras used nowadays are rather more capable, but the challenge is still much the same. Kennedy’s interest in old motor cars was sparked by seeing the movie ‘Genevieve’ when a boy, and subsequently seeing the actual car its elf, which lived for many years in his native New Zealand. An owner of vintage cars for over 30 years, he has taken part in many tours and rallies and has also organized tours in Britain, USA, Europe & New Zealand. The book shows the unique chance to drive the very same car from London to Vienna, to repeat a photograph album taken exactly a century earlier, the challenge being to find the locations and replicate the pictures to show the changes which a century has wrought.

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Conrad Felixmüller (1897–1977) is regarded as one of the most important representatives of the Second Generation of German Expressionism. He celebrated initial major successes with his art during the Weimar Republic. This volume illustrates the life and work of this unusual artist, whose creative career reflects more than half a century of art and contemporary history. In January 1919 Felixmüller founded the avant-garde Dresdner Sezession Gruppe 1919, whose members also included Otto Dix and Peter August Böckstiegel as well as other fellow artists. The works from the early 1920s reflect not only his interest in these people but also his political commitment. Under National Socialism Felixmüller’s works were proscribed as “degenerate”; after 1945 he endeavoured to continue his work in the GDR, albeit under new auspices. Ten years before his death, Felixmüller moved to West Berlin, where he lived to see the rediscovery of his work.

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Admired by contemporaries as an artistic “jack - of - all - trades”, Koloman Moser (1868 – 1918) is regarded today as one of the most important representatives of the Viennese Secession of around 1900. As a graphic artist and designer Moser was unparalleled in his artistic diversity, creating furniture, textiles, and objects – for the Wiener Werkstätte among others – that are icons of Modernism, as well as leaving behind an impressive oeuvre of paintings. A group of progressive artists, including Koloman M oser, founded “The Association of Visual Artists of Austria, Secession” under the leadership of Gustav Klimt in 1897. Moser in particular is considered the outstanding graphic artist of the Secession, thanks to his design of posters, exhibition concepts, a nd of the journal Ver Sacrum. He was the ideal master for the formation of the Gesamtkunstwerk “Vienna circa 1900”, hardly surpassed in imagination and productivity. He applied his incredible virtuosity and inexhaustible fantasy to a variety of materials. In 1903 Moser founded, together with Josef Hoffmann and the industrialist Fritz Waerndorfer, the “Wiener Werkstätte” [Viennese Workshops]. The close cooperation between the designing artists and the master craftsmen allowed a completely new level of qualit y of to be attained in artisan craftwork. After 1907 Koloman Moser concentrated on painting once more. This publication presents exceptional examples of his art, drawn primarily from the Leopold Collection and situating them in a biographical and art histo rical context.

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Ernst Ludwig Kirchner (1880 – 1938) is one of the most important artist personalities of the twentieth century; many of his works have become icons of Expressionism. Vacillating between self - doubt and egocentricity, the artist created an incomparably mult i - faceted oeuvre with a remarkable instinct for the trends and imbalances of his time. Kirchner was the driving force behind and the most radical member of the artists’ association “Die Brücke”. He embarked on a promising career which reached a first zeni th in the expressive works of his Berlin years. His ecstatic creative impulse was the result of one of the “loneliest times of my life, in which an agonising restlessness constantly drove me out by night and day.” Even after Kirchner had found a new home i n Davos in 1917, his life continued to be full of tension and marked by phases of mental instability and unbroken creative energy. Anxious to ensure the correct reception of his works, during these years Kirchner invented the art critic Louis de Marsalle a nd published reviews of his own works under this pseudonym. This colourful and fascinating artist personality is presented by Thorsten Sadowsky, the author of this volume, in a knowledgeable and lucid manner through examples of his works and the stations of his life

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Helene B. Grossmann draws on a great tradition of light painting. She creates works of light and color whose impact unfolds far from any representationalism. This volume presents for the first time a comprehensive overview of her oeuvre and shows how th e artist arrives at her powerful compositions. Nature in ever - changing light is Helene B. Grossmann’s source of inspiration. Through abstraction and the application of countless layers of paint she arrives at the distinct glow inherent to her works. In bo th small and large formats she has captured the fluid phenomenon of light on canvas in a wide variety of color diffractions. An unobstructed space opens up for the viewer, giving rise to intimations of landscapes, tableaus and spatiality. The basis for eac h and every painting is the artist’s sketchbook. In it she lays out a first general outline of the composition by means of color planes and lines. In doing so, she often artistically reflects on masterpieces of painting and takes up the particular lighting used in them.

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Vivid descriptions provide an insight into his painterly work: “… At the moment I am immersed in my work with the clear-sightedness or blindness of a man in love. This mixture of colours is something that is quite new for me and when I see it I am beside myself …” It is not for nothing that the letters are regarded by art historians as one of the most important sources for their research. The excerpts from the letters quoted in this volume are often dramatic snapshots. They provide readers with easy access to Van Gogh’s personality as an artist and to his work and may even surprise some art experts. The colour illustrations, some of them double-page spreads, a detailed biography of Van Gogh and an essay which reflects a contemporary painter’s view of the artist, make this volume a special gift for every admirer of Van Gogh.

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Emil Nolde was one of the most important exponents of Expressionism, and is consid ered one of the main precursors of modernism. His virtuoso handling of colour and the incomparable expressiveness of his paintings, watercolours, and Unpainted Pictures astound viewers again and again, and ensure that every exhibition of his work is a great success. This volume was produced in close collaboration with the Nolde Stiftung Seebüll. The authors — both noted Nolde experts — illuminate Nolde’s life and work and provide extended discussions of key compositions. The richly illustrated essay section and biography are supplemented by rarely seen documents from the artist’s archive, making the book especially attractive to bibliophiles.

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This lavishly illustrated volume focusesattention on the seven important qin zithersin the Freer Gallery of Art and the Arthur M.SacklerGallery. The instruments date fromthe period between the late Middle Ages andmodern times. The current assessment ofearly archaeological finds extends the originsof qin instruments back to the Bronze Ageand leads to a new approach.Yang Yuanzheng describes three eras in the development of theqin zither and its cultural environment. He carefully analyses theconstruction of the instruments and questions previous assumptionswith regard to age and origins. These insights, the cultural significanceof the qin zithers and the unique nature of the instruments in thetwo galleries make this volume essential reading for art historians and music archaeologists as well as lovers of this instrument with ist gentle sound, which can mostly be heard in classical Chinese music.

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Fish become knives, alligators become saws, the artist himself becomes a Nokia phone John Martin is one of the most fascinating contemporary Black American artists working today. The publication builds an understanding of and appreciation for his unique visual language and work outside of the arts and disability communities. John Martin was born in 1963 in Marks, Mississippi and lives and works in Oakland, California at Creative Growth Art Center. Martin creates drawings, ceramics, and woodwork that synthesize his memories of a family farm in Mississippi with his modern life in Oakland. Martin commonly depicts images of items from his collection of found objects. His interpretations both describe their function and subvert practicality through his outrageous animal mash-ups, oversized Leatherman tools, and mysterious text. His wry sense of humor is evident in all of his compositions, translating utilitarian imagery into a graphic and animated aesthetic.

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Moving Pictures examines the Hollywood career of Karl Struss (18861981), a pioneering artist of both still and moving images who reached the highest levels of success in both fields. It tells a multimedia story through photographs, films, and archival objects of how he transitioned from an acclaimed fine art photographer to a leading Hollywood cinematographer. The publication focuses on the thirty years between 1919, when Struss first started working in Hollywood, and the late 1940s, when the breakup of the studio system remade Hollywood. Finally, Moving Pictures will explore Struss's cinematography in the two decades after Sunrise, an era of seismic changes in the film industry that witnessed the introduction of sound and colour film, the solidification and then breakup of the studio system, and the postwar rise of television. In these years, he earned an additional three Oscar nominations and established collaborative relationships with some of Hollywood's biggest directors and star

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George Segal's ghostly figures are immediately recognizable, even by those who don't know the artist's name. Some are installed in public spaces, as if sitting on a park bench. This book explores his revolutionary technique of casting from live models, as well as his work across a variety of media, presenting him as a restless innovator. George Segal's sculptures are unmistakable and inimitable. Among the most compelling artists in twentieth century art, Segal combined a reverence for tradition with a desire to speak in a contemporary idiom. His unique technique of casting live models using plaster and gauze and combining these ghostly white figures with objects of everyday use was revolutionary, catapulting him to fame in 1962. Including over 75 illustrations, the book and texts present Segal as a radical experimenter, a traditionalist, and a restless innovator who worked in paint, photography, printmaking, charcoal, and pastel.

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Matisse and the Sea offers a new approach to the understanding of the important painting, Bathers with a Turtle, exploring, for the first time, the seminal role of African sculpture in the evolution of the painting. The book reexamines the significant connection with Cezanne, and provides fascinating new information on the afterlife of the picture. Matisse and the Sea focuses on the Saint Louis Art Museum's iconic painting, Bathers with a Turtle. The exhibition catalogue brings together related works by Matisse in a range of media (paintings, sculptures, ceramics, drawings, prints, textiles, paper cutouts) and objects that influenced the picture, including African sculpture and painting by Cezanne. It also includes revealing new conservation analysis. The book examines two themes related to Bathers with a Turtle. First, the evolution of the picture, exploring Matisse's appropriation of a range of sources as he sought to develop an experimental and novel visual language. The second ex

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Samia Halaby: Centers of Energy will bring together approximately thirty-five of Halaby's paintings, prints, and drawings in the first-ever American survey of her work. Rather than presenting a chronological development of her artistic approach to abstraction, the exhibition catalogue will examine formal and thematic relationships across bodies of work, considering simultaneously the influence of her time spent in the Midwest, her years of teaching, and her analytic approach to generating forms, both on canvas and in computer code. Halaby's current explorations in large-scale painting will be explored alongside her earliest forays into abstraction, with examples of her prolific drawing practice permeating throughout. Significantly, her kinetic paintings will demonstrate the development of abstract forms into moving compositions of colour and texture. Halaby's current explorations in large-scale painting will be explored alongside her earliest forays into abstraction, with examples of

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Los Angeles' art of the past is a treasure trove, awaiting full excavation. Hiding in plain sight have been offbeat and lyrical works by an ethnically diverse group of artists who exhibited with a 1960s gallery with an alternative take on the mainstream: Ceeje Gallery, opened as the dream project of Cecil Hedrick and Jerry Jerome. Scratch the surface of Los Angeles art in the 1960s and what you’ll discover is much more than Ed Ruscha and Robert Irwin. A range of lesser-known artists reflected the social and cultural changes of that volatile decade. Some of the most out of the ordinary showed at Ceeje, a gallery that focused on painters who shared an expressionist style of mythic figuration and oblique narrative. Known for its inclusiveness, Ceeje included artists from a variety of backgrounds and perspectives, all united in making challenging art oblivious of the commercial market.

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Among the foremost contemporary Iranian artists and a pioneer of modern sculpture. Parviz Tanavoli – who has been widely recognised as the only Iranian artist to fully capture the duality and interplay of Iran’s pre-Islam and Islamic cultural identities – created a visual symbology through his sculptural work that would have a lasting impact on modernism in Iran. The book examines the layering of both sacred and secular histories in Parviz Tanavoli’s work – an integration that is crucial to understanding the development of modern sculpture in Iran. It offers fresh perspectives on Tanavoli’s artistic practice. Contributing authors from diverse backgrounds examine his work through a range of research interests and perspectives, and show the breadth of his interdisciplinary practice – from painting and printmaking to ceramics and mixed media assemblages.

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Among the most compelling artists in the history of conceptual art, the Russian-Americans Komar and Melamid used humor and irony to lambaste Soviet officialdom. With new scholarship and full-color illustrations, the book explores their journey from working under an oppressive regime to finding new subjects in the US for their provocative critique. From the invention of Sots Art, a conceptual movement that emerged in the early 1970s in the Soviet Union, to their sardonic Most Wanted Paintings project, based on market research, to the end of their joint career in the US, Vitaly Komar and Alexander Melamid challenged viewers with provocative, witty and ironic art. Lavishly illustrated the book includes the latest scholarship on the duo and historically important texts, offering a renewed interpretation of the artists’ social and political concerns.

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Transnational artistic creation has become a matter of course in our globalized world. But what did migrant art production look like in the GDR? The volume highlights, among other things, the cultural diplomacy of the GDR and its effects, employment relationships of contract workers and taboo racism. Foreign artists from the socialist brother countries such as Egypt, Ethiopia, Israel or Uruguay studied at the art academies of the GDR. What became of them and why they are not mentioned in retrospectives on GDR art? Their works are now the center of attention. At the same time, the history of immigration and the memory of reunification are told from the perspective of East German migrants.

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This is the first volume to document and contextualize Sonya Clark’s large-scale, collaborative artworks. These projects demonstrate Clark’s career-long commitment to addressing the urgent issue of racial inequality in American society and her philosophy of creatively engaging the viewer in reflection on the nation’s history of slavery and our roles in dismantling systemic racism today. As an extension of her abiding commitment to issues of history, race, and reconciliation in her work, Clark is also distinctive as an artist for her use of textiles and other everyday materials, which she aligns with the intertwined histories of art and craft. For marginalized people (African Americans and women, in particular) handwork has been essential to survival and consequently has functioned, and continues to function, as an important means of creating a group identity. Hence, for Clark, craft is essential to the question of equality.

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Land Art and Climate Action: Designing the 21st Century City Park highlights regenerative artworks that respond to this pivotal moment in human history and inspire viewers to embrace the beauty, abundance, and cultural vibrancy of a world that has left fossil fuels behind. Featuring three hundred color images, the book includes essays by Robert Ferry, Peter Kurz, Elizabeth Monoian, Alessandra Scognamiglio, and Sven Stremke to bring attention to design projects and landscape architecture where environmentalism is part of the concept, not an afterthought.

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Johann Gottfried Schadow’s Princess group has gone down in the annals of art history. As the first statue of two female historical personalities it testifies to the innovation, enormous artistry and productivity of sculpture workshops in the 19th century – a symbol of the important sculpture of German Classicism. In around 1800 Johann Gottfried Schadow (1764–1850) was the most famous artist in Prussia. More than most others he knew how to combine the outstanding position as court sculptor with entrepreneurial success and a steady bourgeois existence, and thereby to cultivate an international network. The artist himself modelled, drew, wrote art-theoretical treatises and was the head of the Berlin Academy, one of the most important art schools of the time. The monograph opens new perspectives onto the brilliant creativity of the great sculptor and his workshop.

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This monograph examines the multidisciplinary practice of conceptual Irish artist George Bolster, who addresses the crises facing our species, and our willingness to live in the past through belief systems. Bolster’s ambitious immersive text and image works encompass film, installation, tapestry and photography. When Will We Recognize Us examines the practice of research-based artist George Bolster, who addresses the crises facing our species, long-term conservation of art objects as they relate to climate change, our ignorance of tangible reality, and our willingness to live in the past through outmoded belief systems. Bolster’s ambitious multidisciplinary text and image works encompassing film, and installation, conducted in concert with a range of scientists have resulted in pieces that philosophically address astronomy, and our self-appointed place in evolution.

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This Is Like That: Kristin Bauer is a conceptually designed art book/object that archives the artist’s work from 2017-2020, including essays and dialogue from collaborating curators and writers exploring historic and contemporary influences and references connecting the artwork to the zeitgeist This Is Like That: Kristin Bauer archives the artist’s work from 2017-2020 in a limited edition book/object, designed by Alexander Kohnke with the artist. Incorporates silk-screened acetate pages and book jacket, with referential ephemera spanning print, silent film, marketing and propaganda, capturing the materiality, form and function of visual discourse in the artist’s work. With essays by Ginger Shulick Porcella, Deborah H. Sussman and Rachel Zebro, plus an artist-curator dialogue with Lauren R. O’Connell.

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The black and white photographs by Pavel Odvody (*1953) fuse sensibility, memory and fantasy in an original manner. His exploration of the psyche, beyond the body, is what gets under the observer’s skin. Moments of nakedness, staged in magical double exposures, wraithlike patterns or silhouettes of light, reveal the human being in their multifaceted manifestation. The leitmotif in Odvody’s photography is the human being, their physicality, their movement. Odvody experiments with different – even “incorrect” – exposures times, associating rhythm and dance in his pictures: The figure frozen in the photograph turns into a dynamic gestural expression. This volume offers for the first time an overview of the fascinating work of the photographer, who utilizes the phenomenon of light in a balance between figuration and abstraction in an unmistakably personal way.

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The catalogue highlights the diversity and relevance of the exceptional collection acquired from St. Louis collectors Ted L. and Maryanne Ellison Simmons. The artworks address a broad array of contemporary cultural issues and participate in many discourses of art from the 1960s to the present. Rounding the Bases: The Ted L. and Maryanne Ellison Simmons Collection highlights 100 stellar examples from the 833 works in a St. Louis collection recently acquired by the Saint Louis Art Museum. The diverse collection of contemporary art, made mostly by artists active in the U.S., includes prints, drawings, and photographs as well as sculptures and a painting. The book traces the Simmonses’ focus on art and artists of their own time, and on the broader social, political, art historical, and technical issues that have engaged both the artists and the collectors. Artists featured: Mike Bidlo, Enrique Chagoya, Bruce Conner, Damon Davis, Tony Fitzpatrick, Helen Frankenthaler, Jane Hammond, Tom Huck, Peter Hujar, Jasper Johns, Bruce Nauman, Liliana Porter, Jaune Quick-to-See Smith, Kiki Smith, Paul Thek, Kara Walker, H. C. Westermann, and David Wojnarowicz, among others.

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Adeliza McHugh helped put the whimsical, funky, and irreverent aesthetic of California’s Central Valley on the art-historical map at her legendary Candy Store Gallery. Published on what would be the 60th anniversary of the gallery’s founding, this catalogue is the most significant to-date on the Candy Store and celebrates, as McHugh liked to say, art with a “kick.” In 1962, Adeliza McHugh opened the Candy Store Gallery in Folsom, California. The business began as a candy store, but when that closed, McHugh converted it into an art gallery. There, she featured ceramists and painters who would become nationally and even internationally significant, including Robert Arneson, Roy De Forest, David Gilhooly, Irving Marcus, Gladys Nilsson, Jim Nutt, Jack Ogden, Sandra Shannonhouse, Peter VandenBerge, and Maija Peeples-Bright. Their work, along with that of many other artists, delighted visitors to the gallery for 30 years.

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Clifford Ross’s photographic and video practices over the past thirty years reveals one of the most incisive and technically sophisticated investigations of the nature of vision in the medium’s history. Sightlines showcases the range and depth of Clifford Ross’s art by presenting the inexhaustible variety of visual experience he has created with two primary subjects: mountain and sea. In our era of unprecedented environmental peril, his inventive exploration of the iconic subjects of the mountain and the sea convey powerful creative engagement with the landscapes that are both majestic and fragile.

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In its new presentation of the collection, the Staatsgalerie Stuttgart establishes a dialogue between works from the private Scharpff-Striebich collection and works from its own stocks. Contemporary positions and works since the 1960s which gain a new topicality through the retrospective view, make clear the complexity and contradictory nature of our society. For some time now tense situations have characterised our everyday lives. From curfews and violence to the search for our own identity, we are constantly in the process of seeking re-orientation. Art symbolises the uncertainty and the instability which we experience on a daily basis. In addition to numerous illustrations of the works, the catalogue also includes short statements by the artists in which they comment on their works, thereby complementing their artistic oeuvre.

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