Search results for ""Skira""

An acclaimed fashion photographer provides a personal, luminous, and moving account of post-tsunami Japan. This volume is an extraordinary photographic report by the famous Japanese fashion photographer Yasushi Handa, taken a few weeks after the terrible earthquake and tsunami that battered the eastern coastline of Japan in March 2011. It includes the detailed history of the provinces affected by the disaster, an accessible scientific explanation of the reasons why such an event can occur, and a look to the future that talks clearly about how damage can be limited and how nuclear disasters can be prevented. The book also reveals the composure of the Japanese people and their incredible capacity to resurrect themselves. The photographs were exhibited in Tokyo, Kobe, and Okinawa between January and March 2012 and were admired by a great number of visitors.

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The Catalogue Raisonné of the work of Giuseppe Capogrossi (Rome 1900-1972) presents for the first time all the painter’s works up to 1949, in other words up to the birth of the sign with the works shown at the Galleria del Secolo in Rome in January 1950. Beginning from his earliest paintings, executed in around 1920, the Catalogue records in detail the artist’s path towards the development of an increasingly abstract language and then the invention of his famous “signs”. The volume is completed by critical essays, a detailed biographical timeline and an exhaustive bibliography which make the Catalogue an essential instrument of study for scholars, experts and art lovers.

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An original and entertaining catalogue for a travelling exhibition that has already been much talked about. The expressive power of glass emerges from the pages of the Glasstrees catalogue, which travelled from the Venice Biennale to the Museum of Art and Design of New York in February 2012. The excellent colour photographs illustrate the glass sculptures and installations by internationally-acclaimed artists and designers, some of the most important on the international scene, who for the occasion tackled one of the arts to have made Venice famous throughout the world. This catalogue will become a “must” for collectors, designers, students and connoisseurs.

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Fifty-six international designers and architects celebrate the Hogan label’s most recent collections. There is an obvious connection between the different forms of creative expression: this is the core philosophy Hogan, expressed in the Future Roots project in which 56 internationally famous designers and architects are captured in Ornella Sancassani’s photographs wearing the most recent collections designed by the fashion label. The black-and-white photographs interpret the fashion house’s savoir-faire; the architects and designers are captured in their professional workplaces or with those objects that in a concise way best express their Weltanschauung. Future Roots is therefore a story in pictures in which the different aspects of planning in design, architecture, fashion and photography are brought to the fore, showing little distinction between sectors.

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The first monograph on an “alternative” artist in contemporary Chinese art. In the reformulation of values in contemporary Chinese art, Wang Luyan’s concepts and methodologies differentiate his from those that have been most popular. The most significant characteristic is his transformation of artistic concepts into the commonplace through social relations and everyday experience. In other words, they have become extensions of everyday life, social aesthetics, technical standards, through which he reflects on his own doubt and confusion. Since 1979, when Wang Luyan first became involved in art, he has been a key participant and witness in every period during the development of Chinese contemporary art. He is definitely not one of the “hot” or “sentimental” artists, yet he is, undeniably, important.

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An overview and insight into the unique collection of the Norwegian art collector Erling Neby. Erling Neby is the owner of one of the most important and precious private collections of constructivist and concrete art in Europe, and even worldwide. Over a period of thirty years, Neby has been building up a collection which is today unequalled in the Nordic countries and is of international standards and fame. Thanks to more than 200 color plates by such artists as Josef Albers, Olle Baertling, Jean Dewasne, Emilio Gilioli, Jan Groth, Arne Malmedal, Aurelie Nemours, Lars G. Nordström, Jesus Rafael Soto, Victor Vasarely, Thornton Willis, the book gives an inspiring insight into the international constructivist art from the 1940s till today.

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The hidden soul of a group of creative individuals which, since the beginning, has always expressed itself in images. As I told you before, Ideas not Airships is a 500-page table book celebrating the 30th anniversary of the Hangar Design Group, one of the first independent and multidisciplinary creative design groups in Italy. The book is a narrative in pictures representing an attempt to discover an underlying theme in the intricate creative process of a group that is unique from the point of view both of its degree of expertise and its creative practices. Through works and experiences the book illustrates the life of the studio, tracing a decidedly unconventional figurative path made up of suggestions, inspirations, memories, faces and places – not only those of the Hangar Design Group itself but of anyone who undertakes to give form to an idea. The book illustrates the network’s modus operandi. It begins from the birth of the first embryonic concepts and follows through to the finished product. As I told you before, Ideas not Airships is the enthusiastic narration of a gripping story, and is dedicated to all those who believe that with creativity we can (even) change the world.

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Naked Architecture Valerio Paolo Mosco An account of one of the most interesting phenomena of contemporary architecture: the return to the structure and methods with which contemporary constructions are realized. Over the last ten years architecture would seem to have rediscovered engineering. Now that the Postmodern period, in which the structure of buildings was camouflaged by coverings of every kind, has passed, architecture today seems to have undressed, almost as though wishing to show how it is made (and to render this spectacular). On the other hand, the rediscovery in recent years of plastic form has brought about a closer relationship between architects and engineers. In the wake of the phenomenon that is the work of Santiago Calatrava, figures of engineer-architects have emerged such as Cecil Balmond, Sasaki and Guy Nordenson, who have been able to give a strongly "engineering-oriented" guise to ever more complex building sites. To this we must add the rise of new issues, such as that of environmental engineering, which has changed from being a specifically technical sphere to one of many other realms of knowledge, not least the aesthetic. If, therefore, there is a phenomenon today that is able to hold together the various expressions of contemporary architecture, it is precisely this return to the structure and methods with which it is realized.

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A groundbreaking work edited by Germano Celant in collaboration with the artist and her New York studio that enriches our knowledge of Louise Bourgeois Louise Bourgeois, who has produced art since the 1930s, began in the 1990s to use her clothes and the clothes of her loved ones as components in her sculptures and drawings. It is as much a reincarnation of her past and her childhood as a confirmation of her relationship with memory. Her visual approach to fabrics transforms decorative accessories into emotional and personal references which, especially in her Cells and later in her drawings, create representations of a tormented and at the same time powerful womanhood. Further development of the artist’s work began in 2002: exploiting the iridescent colours and formal structural properties of pieces of her clothing, she created “The Fabric Drawings,” astonishing works alternating between floral figurative pieces and chromatic abstractions. This set of images is collected here in its entirety for the first time, constituting the closest thing yet to a general catalogue.

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The Bally Shoe company was founded as "Bally & Co" in 1851 by Carl Franz Bally (1821-1899) and his brother Fritz in the basement of their family home in Switzerland. In 1854, a shoe factory was set up in the village but Fritz Bally left the fledgling business and Carl Franz Bally carried on under the corporate name "C.F. Bally." After more than 150 years Bally has come to represent quality and design in shoes. This book illustrates the history of Bally from 1851 to the early 1960s, a period which embraces the birth and development of a footwear design style that introduced an evolution in comfort, lifestyle and elegance. Through a vast array of colour photographs, period illustrations and vintage posters, the book presents Bally and the shoes that have intrigued and enchanted us for over a century. The pictures illustrate the evolution of shoe models from the end of the 19th century, when Bally stepped boldly into the international market, to the early 1960s. Bally Since 1851 presents the unfolding of a key period, when the firm’s design skills joined forces with a strong business flair, thus distinguishing the brand internationally. This fascinating account of the development of Bally shoes features the fabrics, embroidery, colours, weaves and different versions of one hundred shoes— carefully selected from the Bally Shoe Museum of Zurich. The book will appeal to fashionistas, shoe lovers and design aficionados.

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The result of painstaking research by Lea Vergine, this volume explores the meaning of the “trash” phenomenon in contemporary art from the early 20th century (Boccioni, Carrà, Depero, Picabia, Schwitters), through the Sixties and Seventies (Burri, Kounellis, Fontana, Vautier, Rotella, César, Arman, Manzoni, Pistoletto, Beuys, Spoerri), and up to the present (Cragg, Parmiggiani, Boltanski, Sherman, Bourgeois, Serrano, Cattelan). It examines the challenge launched by these artists, who use waste as a material for creating art. In an era marked by great concern about the environment, the artistic use of the discarded object expresses the alienation and distress that appear to be eroding the wantonly consumeristic social model represented by the West. Recovering and preserving refuse is a means of trying to hold on to it, of making it survive by saving it from a void, from being nothing, from the dissolution to which it is destined; it is about the desire to leave a mark, a trace, a clue for those who remain, hence touching a dimension that is psychological as well as political.

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Walter Chappell (1925–2000) is considered one of the foremost figures in twentieth-century American photography. His thinking and vision of the world were closely connected with the intimistic, spiritual explorations undertaken between the 1950s and the 1970s by artists like Minor White and Paul Caponigro. While Chappell photographed various subjects, his inner eye was stimulated in particular by the form of the human body and landscapes as well as the combination of both, through which he endeavoured to perceive the creative flow, the energy that runs through and connects all things. Produced to accompany the first major European retrospective of Walter Chappell’s work, this catalogue presents over 130 photographs, all originals, as well as the unfinished and previously unpublished album World of Flesh, which the photographer intended as the primary publication on his work.

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A complete survey of Indonesian contemporary art. Indonesian Eye presents the most exciting works by emerging Indonesian artists in the most exhaustive way and comprehensively discusses their distinguishing characteristics differentiated from other contemporary art in Asia and the Western world. As an illustrated study, the book features seventy five up and coming artists and five essays to explain vibrant and dynamic art scene in Indonesia as an undiscovered jewel of Asian contemporary arts. Four pages will be given to each artist to allow the audience to experience more diverse spectrum of young artists’ works never introduced before outside Indonesia. Each artist’s section will have a brief descriptive text on the artist and his/her work and detailed captions.

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