Search results for ""Hirmer""

The first book to examine the achievements of California artists of Jewish descent, Contraption illustrates how sixteen artists use the metaphor of the machine to understand and depict how the individual aligns his or her identity with the workings of an at times incomprehensible social system. The compelling works showcased in this catalogue illuminate the humor and drama of a century on the West coast. Cartoonist Rube Goldberg became a beloved humorist at the turn of the last century by drawing enormously complicated machines to accomplish wholly unnecessary jobs. Ned Kahn, who invents machines that make visible otherwise invisible natural phenomena, is among America’s greatest artists working today in public places. Amid these towering figures are a hundred years worth of California Jewish artists including standouts such as acclaimed ceramicist Annabeth Rosen and gizmo matriarch Bella Feldman. These artists’ works—and fourteen others—gracefully render the world as a gigantic unexplained mechanism, complex, baffling, and lovely.

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Werner Graeff – painter, graphic artist, typographer, photographer and sculptor – is an important Bauhaus artist and a significant representative of Constructivism in Germany. Prompted by his friend Mies van der Rohe he wrote his moving autobiography “Hürdenlauf durch das 20. Jahrhundert” (The Obstacle Race of the 20th century), which this volume publishes for the first time with a representative selection of texts. Werner Graeff ( 1901 – 1978 ) was a student at the Bauh aus in Weimar and from 1921 a member of the De Stijl Dutch artists’ group. Together with Willi Baumeister he was also closely associated with the “ring neue werbegestalter” founded in 1927 by Kurt Schwitters. At an early stage he focused much of his attent ion on film and photography, but in 1951 after his return to the Ruhr region from exile in Switzerland he once again increasingly devoted himself to his work as an independent artist. Illustrated with a large number of paintings, pictograms, multiples, dra wings and graphic works from the artist’s estate, this volume leads the reader through Graeff’s life and works and is at the same time a fascinating journey through the German art history of the 20 th century.

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The drawings of Israeli artist Eran Shakine may look carefree and casual, but their message is serious: Muslims, Christians, and Jews share a history. They are linked through Abraham's sons Ishmael, an ancestor of the Muslims, and Isaac, an ancestor of the Jews, as well as through Jesus, born a Jew. As Shakine demonstrates in this new collection of his work, Muslims, Christians, and Jews have a great deal in common. Eran Shakine: Knocking on Heaven's Door presents new large-format oilstick drawings depicting Muslims, Christians, and Jews as an indistinguishable trio involved in actions that are both profound and humorous. In doing so, he reveals both the diversity and the similarity of the three and offers his own highly individual view of these world religions. Shakine's work argues that though they may have many differences, they share one thought: when they knock at heaven's door, they all hope to find the love of God. The result is a moving, sometimes witty, and always powerful collection of drawings that speak to many conflicts in the world today.

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Andrea Bischof is one of Austria’s most important contemporary artists and has made a name for herself through the subtleness of the coloration and exceptional harmony of her compositions. She achieves this through weeks of patiently juxtaposing dazzling tones that. The alluring interplay between surface and depth literally makes the pictures begin to breathe and pulsate. Bischof has always felt a strong affinity with French art and, in her work, continues in the footsteps of the Impressionists, Nabis and Fauves. Like the Abstract Expressionist artists Bischof has also made a close study of the fulminant late work of the great French master Claude Monet. This volume portrays Bischof’s development form the monochrome works of her early period and the arcane depths of her Reflections, over the experimental works on paper to the strongly colored, expressive large-formats of the magnificent Pulsations series. An interview with the artist and a lavishly illustrated biography complete this overview.

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Max Mannheimer (* 1920) survived the Holocaust as a Jew in a concentration camp. His moving life history has been published in several books in different languages. However, few people are aware of his paintings, which were created under his Hebrew name “ben jakov”. This volume assembles a selection of 70 of his works. Max Mannheimer’s oeuvre follows his poetic motto “I marry colours”. Starting from a completely independent artistic position, since 1955 he has demonstrated tremendous pleasure in experimentation and has created a total of more than one thousand works. His dynamic abstract paintings and drawings are signed “ben jakov” (Son of Jakob) in memory of his father, who was killed in concentration camp. They bear witness to the horror as well as the joy of an eventful life. Together with an introductory essay by Gottfried Knapp, the publication provides for the first time an overview of the paintings of Ma x Mannheimer which have been created away from the public eye

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The Kunstmuseum Bern owns one of the most important art collections in Switzerland. Since the foundation of the Staatliche Kunstsammlung in Bern in 1809 and the opening of the first museum building in 1879 the collection has grown continuously and has attained world renown. Over 170 masterpieces of the collection are assembled in a single publication for the first time and made accessible to a broad public through new art-historical analyses and numerous colour illustrations. The Kunstmuseum Bern houses prestigious works of Swiss and international art from the late thirteenth century until the present day. The collection contains over 3,000 paintings and sculptures and 48,000 works on paper and videos, including, for example, masterpieces by Duccio di Buoninsegna, Paul Cézanne, Salvador Dalí, Ferdinand Hodler, Ernst Ludwig Kirchner, Franz Paul Klee, Franz Marc, Henri Matisse, Meret Oppenheim, Pablo Picasso and Felix Vallotton. The works assembled in this volume are presented with full-page illustrations and are re-examined by some 70 international authors. A historical survey describing the development of the museum and its collection opens and introduces the publication.

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Between 1847 and 1935 the Maya on the Yucatán peninsula rebelled against their oppression and were eventually defeated by Mexican troops. The Canadian photographer Serge Barbeau has visited the descendants of those Maya rebels. This volume reproduces in oversize format his expressive portraits documenting their desire for independence. Serge Barbeau, who has lived in Mexico for many years, visited the descendants of those militant Maya. They continue to experience the consequences of the dispute to this day and lead a life full of economic, social and cultural disadvantages. The full-page portrait photos are full of detail and show in a moving way the traces of life which have become engraved in the faces of the portrait subjects, the oldest of whom was 107 years old. Their tales remind us of the exploitation, forced labour and the confiscation of land at the time and document the desire for independence which remains unbroken to this day. They also tell of their deep roots in their faith, which unites the Maya heritage and the Christian religion. An impressive act of homage to the Maya of Yucatán.

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Tearing, cutting, shredding in order to reassemble the elements and create something new: strip by strip the Austrian artist Monika Fioreschy applies lengths of torn paper to her canvases, thereby creating large-format abstract works filled with a harmonious formal language and offering an unexpected wealth of detail when observed more closely. Paper is the main medium used in the new cycles of works by Monika Fioreschy, whereby the strength of her works lies in the reduction of materials and forms. Line by line our eyes follow the course of the collages; the observer is seduced into reading her art. The strict regularity of the works is interrupted by changes in colour, the arrangement of the folds, gaps and overpasting, whereby the real wealth of detail only becomes evident through intensive study. In his essay accompanying the full-page reproductions of the works, art theorist Bazon Brock explains how Fioreschy’s training in classic weaving skills can be rediscovered in these works and the role they play in the artist’s oeuvre as a whole.

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Over the course of the past years, painting has undergone a spectacular renaissance in the arts capital of New York at the hands of a generation of artists who will no longer be told how art should and should not be made. Eleven positions reveal the current importance and variety of a genre many believed had no future. Today, it seems, painting is as alive in New York as it was during the period of Abstract Expressionism in the 1950s and of pop art in the 1960s. The difference is that there is now a plurality of styles and forms of expression. The spectrum ranges from the painterly experiments of Matt Connor via the wild post-pop paintings of Eddie Martinez to the neo-conceptual approaches of the likes of Antek Walczak and Ned Vena. Without prioritising any particular style, this volume documents the rich panorama of the medium of painting, which has moved on from the ideological battles about its existence and plays an important role once again.

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Late Harvest juxtaposes contemporary art made with taxidermy with historically significant wildlife paintin gs, resulting in intriguing parallels and startling aesthetic aesthetic contrasts. The publication seeks to simultaneously confirm — through historically - significant wildlife paintings — and subvert — through contemporary art and photography — viewers’ preconcepti ons of the place of animals in culture. The richly illustrated catalogue will feature artists as: Richard Ansdell, David Brooks, George Browne, Berlinde De Bruyckere, Petah Coyne, Raymond Ching, Kate Clark, Wim Delvoye, Mark Dion, Elmgreen & Dragset, Carle e Fernandez, Richard Friese, François Furet, Nicholas Galanin, George Bouverie Goddard, Damien Hirst, William Hollywood, Idiots (Afke Golsteijn and Floris Bakker), Alfred Kowalski, Robert Kuhn , Wilhelm Kuhnert, Bruno Liljefors, Polly Morgan, John Newsom, T im Noble and Sue Webster, Walter Robinson, George Rotig, Carl Rungius, Yinka Shonibare MBE, David Shrigley, Snæbjörnsdóttir/Wilson, Amy Stein, Archibald Thorburn, Mary Tsiongas, Joseph Wolf, Brigitte Zieger, Andrew Zuckerman The exhibition Late Harvest is organized by the Nevada Museum of Art in consultation with the National Museum of Wildlife Art. It is curated by JoAnne Northrup, Director of Contemporary Art Initiatives, together with consulting curator Adam Duncan Harris, Ph.D., Petersen Curator of Art & Research, National Museum of Wildlife Art.

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Roland Fischer’s “Façades” are spectacular photographic pict ures: 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 t he 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 painting

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The first book to connect the history of Funk Art to contemporary ceramic practice. Funk You Too! arrives at a moment when clay has unprecedented currency in the art world as a sculptural medium. It is the first book to connect the history of Funk Art to contemporary ceramic practice through an exploration of the enduring role of humor in clay image-making. The founding generation of Funk artists used forms of subversion to deflate the power of the aesthetic hierarchy that dismissed ceramics as hobby art. Today, in the hands of a younger, more diverse cohort, the irreverent approach is a powerful tool of critique and personal expression and the “spoonful of sugar” to help discuss sociopolitical concerns of our time. Showcasing over 50 works from a 2023 exhibition at the Museum of Arts and Design in New York City, this catalog addresses the historical context for the emergence of ceramic sculpture in 1960s Funk Art and applies a critical lens to work by its contemporary successors. The exhibition’s curator, Angelik Vizcarrondo-Laboy, conceptually frames the exhibition’s emphasis on humor as a tool for tackling personal and political themes. Garth Johnson contributes an essay on the impulse for humor in American ceramics that lead to Funk ceramics. The catalog also features biographies of the artists, color images, and a select bibliography.

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Paul Cézanne, Auguste Renoir, Claude Monet and many others – between 1936 and 1956 the Swiss industrialist Emil Bührle (1890–1956) assembled an impressive collection around French Impressionism. As the owner of the largest weapons factory in the country he had close links to the historical events of the period from World War II to the Cold War. Initially Emil Bührle acquired works almost exclusively in Switzerland; then, from 1951, an intensive second phase followed, which was greatly influenced by Bührle’s business dealings with the United States. The publication illustrates the colourful history of the collection, which includes a total of 633 works, and examines its importance with regard to modernist art collections in Germany, Switzerland and the United States. The survey is complemented by contributions from a number of authors who present 70 masterpieces of the collection, from the old masters to Picasso.

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Frederick Law Olmsted (1822 – 1903) is considered as the father of landscape architecture in the United States and created several renowned urban parks and park systems around the country. With a stunning black and white series of trees by Stanley Greenberg dating to the beginnings of these parks this volume offers an intimate encounter with Olmsted, his motifs and heritage. Central Park in New York, the Emerald Necklace in Boston, park systems in Chicago, Milwaukee, Buffalo, Rochester and Louisville – trees have been essential elements of all of Olmsted’s park designs. New York-based photographer Stanley Greenberg pays tribute to them with his portrait series of these beautiful and dignified giants. Three essays by renowned experts on history, sociology and landscape architecture complement the narrative and present an interdisciplinary vision on Olmsted’s achievement.

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Since the 1990s, the British-Nigerian artist Yinka Shonibare CBE (*1962, London) has developed opulently executed sculptures and installations, colourful collages and theatrically staged photographs and films. To do so he transforms episodes from art and history whose effects influence our present-day lives. The volume takes up the traces of colonialism and its consequences for role models, worldviews and body images in the works of Shonibare.

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The American artist Jean Pagliuso, who was born in 1941, explores an unusual subject in her most recent experimental photographs: chickens. Over twenty breeds modelled for her in her studio, resulting in insightful black-and-white photographs that present the birds in their unmistakable glory. Jean Pagliuso has created portraits of the world of fashion and of fi lm since the 1970s. She has worked for Robert Altman, Universal Studios, Disney and other production companies. Magazines such as Vogue, the New York Times and Rolling Stone published her photographs before she dedicated herself entirely to fi ne art photography. The process of making prints and experimenting with darkroom techniques is an essential component of her work as a photographer. The insistence on the purity of technique has led Pagliuso to discover Thai Mulberry paper onto which she hand-applies a silver gelatin emulsion. Here, her unique portraits of chickens reveal to us their beauty, distinctiveness and expression, and ultimately achieve icon status.

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“I was thrilled”, was Andy Warhol’s enthusiastic reaction to the pictures of Florine Stettheimer (1871–1944). Many of the elements of her work inspired his Pop Art. During Stettheimer’s life her sensuous and ironic paintings with their numerous figures were valued highly by artists and curators, although the general public remained largely unaware of their merits. Only after her death did her close friend Marcel Duchamp organise a retrospective in the Museum of Modern Art. The art and literature scene of Roaring Twenties New York gathered at Florine Stettheimer’s extravagant parties. Surrounded by the cultivated and yet unconventional “Dada flair”, the artist staged her pictures as a performance – and was thereby well ahead of her time. As an outstanding painter she was not only at the heart of the American art business, but also attracted attention with her eccentric, subversive and often humorous poems, as well as demonstrating her talent as a stage and costume designer in the theatre. This bibliophile monograph about the multitalented artist is lavishly illustrated and tells a new, exciting history of the modern age through her artworks.

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The youngest member of the Blauer Reiter group was overshadowed for a long time by fellow painters such as Wassily Kandinsky, Franz Marc, August Macke, and Paul Klee. But in recent years, Heinrich Campendonk has enjoyed an unparalleled rediscovery and a new critical assessment of his extensive oeuvre. Biermann described Campendonk’s early work as a unique symphony of color and rhythm. Just a few years later, his pictures would be defamed as “degenerate,” driving him into exile in the Netherlands, where he remained until his death in 1957. In this beautiful volume, the author reveals Campendonk to be one the most fascinating artists of the last century, bringing to life the extraordinary overlap of his artist development with his life and times.

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“I want to have an effect at this time, in which people are at such a loss and so much in need of help.” Käthe Kollwitz is the woman artist from 20th-century Germany whose works are best-known internationally. She also enjoys the highest esteem beyond the boundaries of Europe. The inimitable, touching language of her graphic and sculptural works is universally understood and her haunting message is more topical than ever. Outraged at the societal and social ills of her time, Kollwitz devoted herself throughout her life to the representation of people, giving a voice through her works to the distress and grief of the poor and underprivileged. Equally inspired in both expression and artistic execution, she took up topics like parting and death, peace and the sufferings of war. Her intimate portrayal of mothers and children and her self-portraits are full of strength and beauty. They, too, form part of Käthe Kollwitz’s oeuvre and show how multi-faceted her creative works were.

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The spiritually inspired pictures of Agnes Pelton (1881–1961) have their roots in the desert of California, a place where the artist settled in 1932 and where she lived until her death. She wrote of her highly symbolic paintings that her pictures were “like little windows”, which opened up a view into the interior, her “message of light to the world”. In the 1920s Agnes Pelton started to explore abstract painting, because this offered her the possibility of translating esoteric topics into pictures as well as interpreting earth and light in a spiritual way. Like her fellow-artist Georgia O’Keeffe, Pelton deliberately turned her back on the art scene of the East Coast. She was celebrated for her abstract compositions: “… it is simply an oasis of beauty for the eye”, was how American Art News eulogised her work. After her death Pelton’s work disappeared from the public focus for a long time; today her important artistic contribution to American modernism is acknowledged once more.

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Elegant sailing ships, expansive seascapes, crystal - clear spread - out views of architecture – with his unique pictorial language and range of subjects Lyonel Feininger became one of the most important artists of Classic Modernism, whose works remain very popular to this day. It was in Paris that Lyonel Feininger (1871 – 1956) abandoned his successful career as a caricaturist and began a life as an independent artist. Initially his pictures are peopled with grotesque, wild, travesty - like figures inspired by the street scenes of Paris. Shortly afterwards he discovered the typical pictorial subjects which would make him world-famous. Seldom has Feininger’s artistic development from his early works to his last pictures in the United States been shown with such brilliance. With unpublished photographs and extracts from the unpublished diary of his wife Julia, this artist monograph provides an in-depth insight into the life and work of Feininger and will even surprise those who are familiar with his art.

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Natural disasters and their consequences dominate the news almost on a daily basis. Quick-impact preventive and aid measures are essential for the victims to survive. This volume presents a selection of projects which demonstrate impressively how both cutting-edge technology and locally available materials and resources can be used for this purpose. Government-backed aid programmes are often too slow to be immediate effective in natural disasters. Hence, 3.5 Square Meters explores how individuals and communities can unbureaucratically overcome such extreme situations using a bottom-up approach. Key approaches this book introduces in dedicated chapters include Sharing Knowledge, Social Technology, Story Telling and DIY. Presented are individual projects by NGOs and specialists such as engineers, architects, designers, computer scientists and social activists. Transfer of knowledge and communication are essential, as this publication demonstrates, and result in varied and novel solutions.

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Egon Schiele (1890 – 1918) is nowadays regarded as one of the leading pioneers of Modernism in Austria. Although he already enjoyed some success during his lifetime and came to be considered Austria’s greatest artist following his death, his outstanding impo rtance for art was recognized only in the early 1950s. Rudolf Leopold, the early collector of Schiele who first became interested in Schiele in the 1950s, has been instrumental in raising the international profile of Egon Schiele. Today, his art treasures are housed in the Leopold Museum in Vienna, which holds the world’s largest and most outstanding collection of works by Schiele. Diethard Leopold, the collector’s son and author of this volume, naturally grew up with Schiele’s works, developing a special affinity and familiarity with the artist and his works. In this monograph he examines the life of the painter, who died prematurely at the age of 28, and based on major works from every one of his creative periods he presents an artist who captivates the viewer with emotional subjects and technical ingenuity al ike. In the archive section of this volume, special finds from the rich trove of documents he left behind show the copious talent of Egon Schiele who not only excelled as a painter and graphic artist, but also awaits discovery for his expressionist poetry.

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The artist Heinrich Knopf (*1949) lives in Munich and at Lake Garda. Even in his youth he focused in the transformation of iron, one of the oldest materials used in art. His sculptures radiate lightness and movement and invite the viewer to a playful relationship with ever-changing angles.Heinrich Knopf gives the heaviness we initially associate with iron as a material an almost flowing dynamism. The forms of his works are abstracted and derived from the constant movement of water, which remains a source of fascination for him. Filigree and flooded with light –apparently hovering – his works evoke perspectives which perplex. In large-format illustrations and detail shots the publication provides an overview of his creative work and allows the viewer to study the works and their forms at leisure.

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Gothic Modern illuminates the pivotal discovery of medieval Gothic art for Edvard Munch, Käthe Kollwitz and their artist contemporaries. It explores their deep attraction to the Gothic art of Europe's north and German lands via paintings, prints and in other artistic media to imagine a new Gothic modernity', unlocking a different energy of modern art and creative experiment beyond nation-centric stories. Gothic Modern sheds light on the profound importance of medieval Gothic art for Edvard Munch; Käthe Kollwitz and their contemporaries. It explores their re-imagining of Gothic art between 1870s and 1920s to create new visions of the artist, belonging', modern society, sexuality, spirituality and identity. In these ways, a distant Gothic age is recreated as tantalizing close to modernity', in short, to making modern art. Dark or radiant, enchanted or uncanny, these sites of Gothic modernity' inspired Munch's and Kollwitz's generation with urgent imaginaries for creating worlds.

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How do artists ensure that their works will still be known in later centuries? How do they reach a public in distant places? In around 1600 the answer was: via prints. Through their exceptional works and marketing strategies in this medium, Hendrick Goltzius (15581617) and Peter Paul Rubens (15771640) earned international and lasting success. Engravings are easy to reproduce and distribute, and so in around 1600 they became the perfect ambassadors for artists. With a selection of 140 brilliant engravings, this volume shows that Goltzius and Rubens were highly innovative and strategically astute in their use of this medium, seeking to beguile their audience, arouse desires and disseminate their own new artworks. In addition to their paintings, the engravings became sought-after collectors' items which played a decisive part in the promotion of the careers of both artists.

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Following the fusion of three important Winterthur collections to create the Kunst Museum Winterthur, this lavishly illustrated volume presents the highlights of the three museums for the first time: from Rembrandt via Caspar David Friedrich to Vincent van Gogh, and from Pablo Picasso via Alberto Giacometti and Sophie Taueber-Arp to Isa Genzken and Gerhard Richter. In 2024, the Kunst Museum Winterthur is celebrating the re-opening of the Villa Flora. The merging of three museums and collections under a single roof is therefore being documented in an opulent illustrated book. The catalogue presents the museum treasures of the Kunstverein Winterthur, the Oskar Reinhart Foundation and the Hahnloser/Jäggli Foundation with over 100 masterpieces of classical painting, sculpture and graphics together with new media including video works and installations that trace an arc from the Age of the Baroque to the present day.

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Holding up a mirror to the present, the exhibition homes in on our current conflicts – from right-wing populism to identity politics. It allows us to ask, from the distance of a generation, what time we are actually living in. Is Postmodernity really over – or are we in the middle of it? The year 1967 marked the beginning of our present: Modernism, which had presumed that everything could be sorted out through equal housing, furniture and rights for all, was abandoned, and from its ruins a bizarre, eccentric world was born. Architects declared the amusement park the new ideal city; designers shook off the yoke of good taste, and the conflict between the two dominant political systems gave way to the struggle for self-realisation. New media synchronised the globe, and images became the arena in which contests for style and recognition were waged. Showcasing spectacular examples of design, architecture, cinema, pop, philosophy, art and literature, the exhibition chronicles the dawn of the information society, the unleashing of the financial markets, the great age of subcultures, disco, punk and techno-pop, shoulder pads and Memphis furniture. It also chronicles the sudden surge in the construction of museums, the new temples of art and culture, to which we owe the largest exhibit, the Bundeskunsthalle itself. When the Bundeskunsthalle opened in 1992, the Cold War was over, and Francis Fukuyama published his famous book, in which he proclaimed ‘the end of history’ as such. Thirty years later, it is clear that history did not come to an end, and Postmodernism is once again a matter of considerable debate.

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Ylla (191155) devoted herself exclusively to animal portraiture at a time when no one had thought of only photographing animals. Driven by her symbiotic relationship with animals, she created a new genre in animal photography: the expression and personality in animals. Ylla: The Birth of Modern Animal Photography recounts the eventful odyssey of a New Woman par excellence, fearless and knowing no limits. She was part of artists' circles in Belgrade and Paris, however during WWII she fled to New York via Marseille where she started her career again from square one. Originally taking beguiling photos in her studio and zoos, Ylla finally traveled to Africa and India where she died in a tragic accident during a water buffalo race. Her Animals in Africa and Animals in India are some of the first books on the subject. Ylla also introduced photography to children's literature. Her books The Sleepy Little Lion and Two Little Bears are juvenile classics. This book details her remarkable life

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Sonya Kelliher-Combs offers a chronicle of the ongoing struggle for self-definition and identity in the Alaskan context. Her combination of shared iconography with intensely personal imagery demonstrates the generative power that each vocabulary has over the other. Similarly, her use of synthetic, organic, traditional and modern materials moves beyond oppositions between Western/Native culture, self/other and man/nature, to examine their interrelationships and interdependence while also questioning accepted notions of beauty. Kelliher-Combs' process dialogues the relationship of her work to skin, the surface by which an individual is mediated in culture. Sonya Kelliher-Combs was raised in the Northwest Alaska community of Nome. Her Bachelor of Fine Arts degree is from the University of Alaska Fairbanks and Master of Fine Arts is from Arizona State University. Through her mixed media painting and sculpture, Kelliher-Combs offers a chronicle of the ongoing struggle for self-definition a

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Since 2018, Katharina Cibulka and her team have been mounting handembroidered scaffold nets on wellfrequented, prominent construction sites, making use of sociopolitical messages to prompt passersby to join in the discussions. A sentence that begins with As long as and ends with I am a feminist, refers to existing inequalities. Let’s go equal! is international and speaks all languages. The art interventions take place in museums, universities, churches and fortresses from Vienna via Cologne, Ljubljana and Rabat to Washington D.C. The subjects are developed on location in a participatory manner. Let’s go equal! raises awareness for gender equality beyond the feminist bubble – also via Instagram. This lavishly illustrated volume describes the 28 projects in 7 countries to date and provides an insight into the background stories as well as their public reception.

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Munch’s pictorial worlds – the initial impetus for modernism Edvard Munch’s radical modernity in painting was a challenge for his contemporaries. This applied in particular to the art scene in Berlin around 1900 which the Norwegian Symbolist artist influenced profoundly. In return, he received support there and was able to continue to develop his work. The publication is lavishly illustrated and describes knowledgeably the story of Munch and Berlin. In 1892 the Association of Berlin Artists invited the still-unknown Edvard Munch (1863–1944) to an exhibition. The public was shocked by the colourful, sketch-like pictures. The artist enjoyed the furore and moved to the city on the Spree, where he repeatedly sojourned until 1908. Here he learned the techniques for printed graphics and presented for the first time paintings in several continuous series which would become central to his oeuvre. In Berlin, before long, the concept of the “Magic of the North” (Stefan Zweig) was no longer associated with romantic or naturalistic fjord landscapes, but with Munch’s psychologically concentrated pictorial worlds.

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The volume introduces the most important stations of Chagall's 97-year life and his artistic development, clearly and knowledgeably presented by the author Ilka Voermann. Santiago Calatrava is primarily known for his spectacular architectural feats that span the globe. Yet he has never limited himself to architecture alonerather, he sees himself as an artist. With his painting, sketching, drawing, sculpture, intervention on ceramic, installations or architecture, art represents for Calatrava the purest path for conveying emotion. This comprehensive publication is completely devoted to Calatrava's art, revealing his unmistakable style and profound creativity. In Santiago Calatrava's mind, there has never been a separation between architecture and art. Both have been a source of nourishment and a laboratory of expression, with the ultimate goal of finding a personal language. With large reproductions and a wide selection of works, this book details an oeuvre that has been silently grow

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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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“I am not aiming to provoke. For me, art is a possibility to defend myself, to retaliate.” Gottfried Helnwein’s (b. 1948) paintings of children are both touching and disturbing. The hyperrealistic character of his images serves to intensify this effect still further. The vulnerable and defenseless child serves as the central motif in the artist’s examination of the themes of pain, injury and violence. The catalogue provides an overview of his creative work during the past twenty years. The child in Helnwein’s works embodies and serves as proxy for psycho logical and societal fears. The artist also uses his images to denounce Nazism or to address the Holocaust as well as the taboo subject of abuse. Helnwein is considered a provocateur to this day. He still succeeds in shaking up people with his works, which are produced from photographic references and which captivate us through their technical perfection.

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Laserstein’s current reputation as a great realist has assigned her an undisputed place in the 20th-century art history. Striking portraits, self-portraits and sensual nudes demonstrate her synthesis of traditional painting style and modern subject matter in the Berlin period.

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Comprehensive view and new research on the fascinating painter of New Objectivity. The German-Swedish painter Lotte Laserstein (1898-1993) is one of the most exciting rediscoveries of recent years. The richly illustrated book with essays on Laserstein’s production in Berlin and her reception in Sweden as well as unpublished documentary material can enrich the existing knowledge of Laserstein’s life and work. Laserstein’s current reputation as a great realist has assigned her an undisputed place in the 20th-century art history. Striking portraits, self-portraits and sensual nudes demonstrate her synthesis of traditional painting style and modern subject matter in the Berlin period.

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Riding on the edge. The daredevil life of the Wall of Death drivers in the motordrome. Donald Ganslmeier and his colleagues on the Wall of Death of the motordrome are amongst the last of their kind. Their art is threatened with extinction. The photographer Florian Holzherr has created a powerful memorial to the action-packed life around the boards that signify the world. His black-and-white photos of the daredevil motorcyclists and the accompanying texts show the myth of the Wall of Death in a fascinating new way. For several years the Munich photographer Florian Holzherr accompanied the steep-wall motorcyclists around Donald Ganslmeier with his analogue camera while setting up the Wall of Death and riding and then dismantling it again, and then in their lives on the road. The result is images which show the story of an artistry that is threatened with extinction. In impressive, unfiltered black-and-white pictorial language accompanied by powerful texts, the volume enables the reader to learn of the fascination and passion, and also of the risk, as it provides an insight into the lives of the artists beyond the show.

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Brushwork and poetry – the great awakening of Venetian painting around 1500. In the Venice of the Renaissance, master artists like Bellini, Giorgione, Palma Vecchio and Titian explored the essence of mankind and nature and their relationship to each other with an unprecedented intensity. This attractive volume shows through important portraits and landscape representations the pioneering innovations of Venetian painting, which continued to leave their mark right up to the modern age. The painting of the city on the lagoon captivates us not only through the wealth of colours and the nuances of the light, but also through the exceptional sensitivity with which the artists focused on their works. They created sophisticated portraits, seductive idealised likenesses and history paintings whose principal character is the atmospheric landscape. The publication examines the masterpieces in depth with regard to their remarkable innovative strength, the context in which they were produced, and contemporary interpretations.

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Contemporary cameraless photography from master printer Michael Flomen. Master printer Michael Flomen expands his darkroom out into the wild to create large-scale, avant-garde, cameraless photograms in confluence with nature. From the streets of the world to the wilds of North America, this monograph traces in 182 images and 8 critical essays the evolution of Flomen’s originality of vision. As a way to take on abstraction with photography, Michael Flomen leaves behind the camera and embraces his light-sensitive materials. Elements such as water, the light emitted from fireflies, wind, rain, and other natural phenomena are emblematic of his work. Collaborating with nature, Flomen creates monumental photograms, revealing things we cannot see with the naked eye. The art in this book comes to us at a critical time when humanity is learning to mend its relationship with the environment.

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The ultimate source on fish hooks of the Pacific islands. The fish hook derives its form from its practical intention - to catch a fish. But in cultures where fishing is and always has been a main livelihood, the crafting of fish hooks becomes an art. "Fish Hooks of the Pacific islands Vol. II" completes the extensive and in-depth discourse of the first volume. Together they are the first extensive reference on Pacific fish hooks since the publication of Harry Beasley’s 1928 Pacific Island Record: Fishhooks, which was printed in an edition of only 250 copies. Much has been learned and discovered since then, and Fish Hooks of the Pacific Islands gathers it all under one title with comprehensive new observations, research, attributions, identifications and colour photographs. This publication is the product of a collaboration by private collectors who have a common dedication to the art and knowledge of old Pacific cultures. In the making of this book, they have brought together an incredible quantity of information as well as images and details of the finest known examples from collections all over the world.

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The Portland Vase, the ancient Roman glass cameo amphora held in the British Museum, has been replicated and reinterpreted countless times, becoming a global brand that has resonated with makers, collectors, and consumers for centuries. Featuring more than 65 artworks, this book examines the role of brands in our culture and asks why Western Classical traditions dominate the artistic canon, and how that canon might be reconsidered and disrupted. Josiah Wedgwood, Viola Frey, Clare Twomey and Robert Lugo, among others engaged with the cameo-glass masterpiece. Their creative conceptual choices respond to complex histories of transfiguration and representation to create a new set of visual and cultural dialogues.

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Imi Knoebel – the “eternally young old master of a radically non-representational painting style”. Imi Knoebel (b. 1940) is regarded as a master of non-representational art. The monograph accompanying the retrospective in the Sammlung Goetz shows the entire spectrum of his creative artistic work from the 1960s until the present day. There is a particular focus on the connections between form and content within his works. Imi Knoebel is one of the great German artists of the present day. He studied at the Academy of Art in Düsseldorf with Joseph Beuys and immediately won approval with his radically non-representational art. In his works he combines abstract painting with industrial materiality and a serial approach to his works. His oeuvre illustrated in this publication extends from black-and-white photographs to hardboard pictures, and from objects of cast concrete to acrylic paintings on aluminium.

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First publication to map the exciting activity and legacy of Margaret Lowengrund and her space. A Model Workshop explores the understudied impact of Margaret Lowengrund (1902–1957) – a visionary leader, organiser and critic within the mid-twentieth century printmaking community – and the vibrant New York print workshop/gallery she founded, "The Contemporaries". The book expands histories of 1950s printmaking by showing Lowengrund and The Contemporaries to be a vital nexus in the mid-century print field. Bringing together several original texts with archival documents, the book maps the activities, networks and legacies of Lowengrund and The Contemporaries, placing them within a constellation of contexts including organised labour, feminisms and entrepreneurship, international exchange, and making the modern print.

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100 iconic American works of art from the Pennsylvania Academy of the Fine Arts’ collection. This lavishly illustrated publication presents essays that offer groundbreaking re-interpretations of American art through the Pennsylvania Academy of the Fine Arts’ impressive historical and modern collections. Texts by leading scholars focus on the significant contributions made by Black, women, and LGBTQ+ artists whose careers were nurtured at PAFA. What does it mean to be an American artist? The book probes what it meant to be an American artist when the first art school and museum in the United States was founded and what it meant to be one by the late twentieth century, traversing two hundred years of creativity and change through over 100 significant works. Leading scholars explore rarely-studied histories in essays that contribute to an expanded picture of the nation and its artistic heritage.

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Marc Chagall (1887–1985) is regarded as the poet amongst modernist artists. His works from the 1930s and 1940s are less well known. In them, his bright colour palette became darker. Even in the early 1930s, Chagall addressed the increasingly aggressive anti-Semitism and touched in his artistic works on central themes such as identity, homeland and exile. In over 100 haunting paintings, works on paper and costumes, the volume traces the artist’s search for a pictorial language in the face of displacement and persecution. It presents important works in which Chagall increasingly focuses on his Jewish environment: numerous self-portraits, his devotion to allegorical and Biblical subjects, important designs from his time in exile in the United States and main works like The Falling Angel. The book offers a highly topical perspective on the oeuvre of one of the most important artists of the 20th century.

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“There is no substitute for the happiness which colours give me.” After a long break, Heinz Mack has been focusing intensively on painting again for over thirty years. A cross-section of his "Chromatische Konstellationen" from 1991 until the present day shows how he translates the greatest possible purity of colour, light and immateriality into a broad spectrum of colour sequences and structures. Texts by Heinz Mack and Robert Fleck illuminate the essence of these colour worlds. Colour as light and light as colour – this represents, as it were, the nucleus of Mack’s painting. Within this premise he offers us a wide variety: chapters on, for example, the primacy of colour, atmosphere and nature, space, movement and geometric forms show the fascinating bandwidth of his work. The volume closes with an unusual undertaking: in a personal juxtaposition with works from art history from Duccio to Barnett Newman, the artist grants us an insight into his collective pictorial memory.

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Recent events have pushed artists to visualize ideas of closeness in a new light. Kinship, published on the occasion of the National Portrait Gallery’s tenth “Portraiture Now” exhibition, features the work of eight leading contemporary artists who explore familial relationships through photography, painting, sculpture, and performance. Contemporary portraiture offers a way to consider the mutable yet enduring qualities of familial relationships and the internal and external forces that affect our bonds with others. For example, interpretations of distance - whether emotional, physical, or geographical - have recently become more fraught. By recognizing the transformations that occur in the genre of portraiture and the threads that today’s portraits share, we can better understand the universality and specificity of kinship. List of artists: Njideka Akunyili Crosby, Jess T. Dugan, LaToya Ruby Frazier, Jessica Todd Harper, Thomas Holton, Sedrick Huckaby, Anna Tsouhlarakis

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