Search results for ""Hirmer""

Hans Hofmann, a representative of Abstract Expressionism and American Modernism during the 20th century with European roots, had a fundamental influence as a teacher on the development of modern art in America. His brightly coloured paintings, watercolours and drawings can now be discovered in a European retrospective. From 1904 until 1914, the painter Hans Hofmann (1880 – 1966), who was a friend of Picasso, Braque, Matisse, the Fauves and Robert and Sonia Delaunay, witnessed and absorbed the new art in Paris, the centre of European art. In his art school, founded in Munich in 1915, he became a mediator of French modernism and achieved international fame as an art teacher. In 1932 he emigrated to the United States and two years later opened the Han s Hofmann School of Fine Arts in New York. He influenced a new generation of American artists, including Jackson Pollock, Helen Frankenthaler and Barnett Newman.

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Our cities are atrophying: What was once an open system inhabitable by all and that was about freedom and self-determination is becoming a zone in which architecture focuses only on comfort and security: a walk-in investment portfolio of luxury properties, offices and token patches of green. The masses, meanwhile, continue to live in the endless housing developments of the suburbs. Accommodation is characterised by a mania for barricades and comfort. The construction industry is booming – and builds the same houses over and over again. But do those buildings have anything to do with the way in which most people want to live today, considering dramatic demographic, technological and social change? Where does the dream of the detached house come from? Which ideal form of living are we taught by children’s books, lifestyle magazines and DIY shops? Who benefits from us living the way we live? Niklas Maak shows how the interests of the construction industry, overextended policies mired in regulations and the habits of planners prevent us from rethinking construction, living arrangements and the city. This humorous, controversial and very well researched book is a precise economic analysis of the architectural world, a brilliant cultural history of living arrangements and a political manifesto for a new kind of architecture.

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When Paula Modersohn-Becker’s artistfriends examined her extensive estate afew weeks after her death, they were overwhelmed.They only gradually realised thatin the painter, who had died so young, theyhad had an outstanding artist in their midst.Modersohn-Becker was largely unrecognisedduring her lifetime but is regarded today asone of the pioneers of Expressionism.The sculptor Bernhard Hoetger was one of the few who recognised hertalent from an early stage. Hoetger’s memories of Paula Modersohn werepublished in 1920 as an authentic contemporary document in the seriesJunge Kunst. They are reprinted as a facsimile in this revised and extendededition. The volume is a bibliophilic highlight with an essay explaining theartist’s life and work from a present-day perspective, together with herbiography and some 40 illustrations of her most important works.

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His paintbrush set everything in motion: the landscape of Provence, the colourful still lifes, his portraits and the picturesque coast of southern France. More than any other artist, Paul Cézanne, the “Father of Modernism”, captured the light and the play of colours of the South in his pictures and lent them through his new pictorial language a liveliness and dynamism which continue to fascinate viewers to this day. Paul Cézanne (1839 – 1906) painted the Montagne Sainte-Victoire, a rocky massif near his birthplace Aix-en-Provence, some 80 times. The artist translated the interplay of sunlight and shadow on the constantly changing stone into pictures on the threshold of abstraction. Today they are seen as icons of art history and they underline Cézanne’s reputation as one of the most important pioneers of Classical Modernism. Countless artists, including Matisse, Derain, Picasso, Braque and Léger found inspiration in Cézanne’s ideas on colour modulation and pictorial composition. In this publication the author Christoph Wagner positions Cézanne as an artistic genius who opened up for future generations a completely new view of the world through his paintings and watercolours.

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In 1926 22 year - old Dutchman Willem de Kooning (1904 – 1997) travelled to the USA on a British freighter – without papers and hidden in the machine room. The young art student eked out a living by painting houses, signs and façades, before he was able aft er eight years to dedicate himself entirely to painting. In the United States he established contacts with the art scene and forged friendships with artists such as Arshile Gorky, Franz Kline, Clifford Still, Jackson Pollock, and Mark Rothko. Today De Ko oning belongs to the outstanding painters of Abstract Expressionism and together with Jackson Pollock is regarded as a pioneer of Action Painting. This publication vividly examines De Kooning’s life, marked by self - doubts, successes, new beginnings, excess es, and scandalous paintings, as well as the evolution of his artistic work. In addition, author Corinna Thierolf opens up exciting perspectives on De Kooning’s work by revealing entirely new, surprising relationships with the works of fellow artists such as Franz Marc, Piet Mondrian, or Wassily Kandinsky.

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The internationally famous Swiss artist Franz Gertsch will celebrate his 90th birthday in 2020. The Graphische Sammlung ETH Zürich, which has a long-standing relationship with the artistand which is one of the most important presentation locations for his printed works, is taking advantage of this occasion as a reason for an exhibition and a bibliophile jubilee publication.In addition to his portraits, which are now counted amongst theicons of Swiss art, Gertsch is famous for his captivating landscapes. Less anchored in general awareness are his outstanding early works from the 1940s to 1950s, and it is on these that the volume focuses. Together with the artist, groups of themes were chosen from his collection and the stocks of the Graphische Sammlung ETH Zürich. Colour proofs which have been produced during the printing of his incomparable monochrome worlds round out this publication for art lovers.

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Art collector, patron and arbiter Hanna Bekker vom Rath (18931983) was a trailblazer for the artistic avant-garde and one of the most important female personalities in Germany during the pre-war and post-war modern periods. She was a friend of Karl Schmidt-Rottluff, Alexej von Jawlensky, Ida Kerkorius and Paul Klee. This lavishly illustrated volume provides a lively picture of a remarkable woman. A refuge for modernism Hanna Bekker vom Rath promoted the art of the Brücke artists and the avant-garde in a variety of ways. Even during the National Socialist era her Blue House in Hofheim served as an intimate space for exchanges and exhibitions for the artists who were her friends. After the war she founded the Kunstkabinett in Frankfurt, the city's first postwar gallery, and she undertook numerous international journeys on behalf of modern art. The texts and images sketch a multi-faceted portrait of an ambassador of art and document the influence of her achievements.

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The oeuvre of the Austrian artist Alfredo Barsuglia is as multifaceted as contemporary art itself. He fits into no category and yet a golden thread runs through his creative work, linking together the various media and examining subjects such as reality and fiction, the private and the public, and ecology and economy in a sophisticated manner. For Alfredo Barsuglia, who lives in Vienna, art and communication lie very close together. Many of his works can be interpreted on various levels, thereby prompting discussion. The artist borrows from the principle of the mise en scène, in which the main emphasis lies on the creation of an illusion of reality. Barsuglia's scenic tales and artificial settings invite a wealth of interpretations which also reveal to viewers their own role in the set.

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From silicone tubes to paint, paper and threads throughout her artistic career stretching back over more than 50 years, Monika Fioreschy has been constantly discovering new forms of expression in the tradition of the art of weaving. In addition to her textile woven pieces, the publication leads through the artist's other, often completely heterogeneous work groups and also presents recent upcycled works created from older objects. Fabric, which usually provides the background for paintings, becomes the object of the picture in Monika Fioreschy's works. Horizontal lines of colour flow through her screened picture spaces, which she always colours and weaves herself. Sometimes these abstractions are broken up by slits or acquire sculptural characteristics because of the silicone tubes, evocatively filled with blood or plant extracts. For her latest works she translates older works with nails and threads to create something new, thereby bringing them into the state of experience of toda

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Concealed, faded and rusting, the signs lie by the roadside. Their text and associative images have lost their connection with reality, as if they had been forgotten in the landscape. The photographer Eva-Maria Fahrner-Tutsek has tracked down these anachronistic remains in Ibiza and presents them in a poetic photo publication as a reminiscence of the past. A man in a hat hurries across the zebra crossing; a girl with plaits on her way to school; signs of restaurants that have long closed down; pictograms of vehicles that have long since ceased to be driven on the road: With her camera Eva-Maria Fahrner-Tutsek releases the obsolete signs on Ibiza from their state of being unheeded. The photographs reveal not only their humorous but also their artistic sides, left behind by time and weather. A photographic gem about impermanence.

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This is the first publication to document and contextualize Udondian's creative interrogation of textiles and shifting cultural identities within a global trade system, characterized by transnational movement of goods and people from one part of the world to the other. Victoria-Idongesit Udondian is a contemporary artist whose work is driven by an interest in textiles and the potential for clothing to shape identity, informed by the histories and tacit meanings embedded in everyday materials. She uses these to create interdisciplinary projects that question notions of cultural identity and post-colonial positions in relation to her experiences growing up in Nigeria and her USA-based transnational art practice. Her artworks examine the complexities of migration and racial / cultural identity in the global context.

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Katharina Grosse (b. 1961) has created walkable artworks in three historical spaces within the Albertina in Vienna. The shimmering colour fields extends across the walls, ceiling and floor, crossing spatial and conceptual boundaries. Their power, intensity and sheer size is overwhelming. The catalogue documents the three-dimensional image world with detailed photos of the installations and pictures from the studio. Expansion and permanent boundary-crossing, freedom and autonomy form the basis of Grosse’s oeuvre. Her creative work is experimental and unpredictable, like untamed thoughts. Numerous photos from the artist’s personal archive provide an insight into her working methods and sources of inspiration, as well as the processes by which she develops her ideas.

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Beauty, terror, majesty, awe: mountain worlds have fascinated humankind since time immemorial. Stephan Huber ascends the snow-covered peaks "en miniature". In his sculptures he imitates the relief of the mountains and creates theatrical-looking, object-like works. This comprehensive volume reflects in powerful images the Alpine cosmos which Huber has been investigating for more than four decades. Stephan Huber’s “Mountains” can be found everywhere: in museums like the Hamburger Kunsthalle, the Bonner Kunstmuseum and the Messner Mountain Museum, and also as large-scale installations in the public space. His monumental contribution to the Venice Biennale in 1999 received international acclaim. In addition to the famous snow-white sculptures of mountain peaks, the publication also assembles early book objects, fictional expeditions, multiples and exhibition views. Essays and an extensive conversation with Reinhold Messner about the interior and exterior mountain worlds round out the volume.

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Discover Jasper Johns as a passionate collector of drawings! From Paul Cézanne to Pablo Picasso to Willem de Kooning – the collection of Jasper Johns offers surprising juxtapositions. The drawings’ consistently high quality is the result of his keen eye as a connoisseur, and many of the works are a testament to his friendships with other artists. In this catalogue, works by nearly fifty artists enter into an inspiring exchange that will fascinate experts and art lovers alike. Jasper Johns (b. 1930) ranks among the major American artists of the twentieth century. His accomplishments as a collector, however, have been little known until now. This beautifully produced volume features a selection of more than one hundred drawings, inviting you to dive into the richness and depth of a truly unique collection.

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Tibetan culture revives in hidden Himalayan kingdom. Photographers Luigi Fieni and Kenneth Parker document the cultural revival of Tibetan Mustang “the hidden kingdom” of the Himalayas. A restoration project of its sacred temple murals directed by Luigi Fieni over more than 20 years has reawakened Buddhist traditions. Included is Mustang’s extraordinary landscape as well as the Lobas’ spiritual and secular way of life. The kingdom of Mustang, where Tibetan Buddhist tradition continues, is emerging as a beacon of community-directed art conservation and resurgent culture. Sacred temples dominate the medieval capital Lo Monthang. Following centuries of deterioration a mural restoration project has taken place over more then 20 years, directed by conservator/photographer Luigi Fieni. This included training the unskilled Lobas in Western conservation methods. This extraordinary initiative led to a vibrant cultural renaissance in the kingdom.

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Beauty embraces horror concentrated colours and motifs with depth. Yury Kharchenko is an outstanding representative of contemporary painting. He creates works in cycles which reflect his profound connections with existential themes like darkness and light. He combines masterful colourfulness with dense substance to create a unique pictorial language ranging from the poetic to the strident. This volume illustrates his works from the last six years lavishly, together with knowledgeable texts. In our consumer society, is the culture of remembrance increasingly degenerating into an entertainment park? In a time of growing anti-Semitism and relativisation of the Holocaust, Yury Kharchenko's latest pictures demonstrate an explicitness and vehemence that are new to his work. He uses the vocabulary of Pop culture, of Disney and Hollywood, which he mixes with fantasies of violence containing taboo references to the Holocaust. The result is an artistic oeuvre which makes us look carefully and

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Clear the ring: The motif of the circus in contemporary art. The circus presents a deliberate staging of attractive illusions, hard struggle, success and failure as part of human existence. The volume assembles works by international contemporary artists who make use of the motif of the circus in order to examine current social circumstances and to question cultural and political structures. The circus originated in London towards the end of the 18th century and has long been a subject of fascination. Today this place of sensuous experiences seems like a relic from the past. The circus is a cosmos which with its entertaining and humorous as well as dark sides provides the basis for an examination of art, cultural history, animal ethics, feminism and racial criticism and also for the exposure of structures of cultural dominance, marginalisation and political and historical filters. ARTISTS: Kathryn Andrews | Miriam Bäckström | Istvan Balogh | Beni Bischof | Mona Boschàr | Barbara Breitenfellner | Michael Dannenmann | Zilla Leutenegger | Dieter Meier | Yves Netzhammer | Tal R | Augustin Rebetez | Boris Rebetez | Ugo Rondinone | Niklaus Rüegg | Francisco Sierra | Norbert Tadeusz | William Wegman et. al.

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Compelling survey of Xicanx art that has shaped visual culture over the last 50 years. Xican-a.o.x. Body centres the political and creative resistance of Xicanx artists from 1968 to the present. The publication presents new histories of Xicanx art, illustrating how artists foreground the Brown body to explore, expand, and complicate conceptions linked to Chicanx, Latinx and Xicanx experiences. The publication offers new insights into more than 50 years of Xicanx art, examining influential works by some 70 artists who highlight the Brown body as a site of resistance and who have created artistic communities that push against systemic racism and the exclusionary practices of mainstream art institutions. Thematic essays by renowned scholars address the ways in which Xicanx art lies at the intersection of the politics of identity, race and class, and interrogate questions of “high” and “low” culture.

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Master of overpainting – experience the fascinating oeuvre of Arnulf Rainer. The art of Arnulf Rainer (*1929) is baffling. The “black overpainting”, with which he covers previous work, is world famous. We overlook the fact that overpaintings in red, blue, green and white also exist and thus that colour always belonged to his means of expression, as this volume vividly demonstrates. Characteristic of Rainer’s work is not only the use of paint, but also the way that he applies it, as the energetic use of physical strength in his hand and finger paintings from the 1970s and 1980s shows. At the end of this period he changed over to a more transparent painting method and used broad brushes to apply the paint like a veil. The visually stunning publication presents works from widely differing series, including Blattmalerei, Engel, Geologica, Goya, Landschaften, Mikrokosmos and Makrokosmos.

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Erwin Osen: Egon Schiele’s artist friend as a fascinating discovery As the charismatic artist friend of Egon Schiele, Erwin Osen also left his mark on the key early years of Expressionism in Vienna. His multi-faceted relationship with Schiele reached an intensity that inspired Egon Schiele’s radical creative work, resulting in masterpieces of Austrian art. Erwin Osen was forgotten, but is now waiting to be rediscovered. Erwin Osen (1891–1970) was a companion to Egon Schiele who provided him with stimuli. He reveals himself to have been a fascinating all-round artist. He was unique, an “It Man” of the modern age. Stage decor and set design, acting, pantomime, singing, cabaret, direction from theatre to silent and talking films and camera technology, as well as painting and graphics – there was no limit to the forms taken by Osen’s art. It was at his side that Egon Schiele developed his own expressive main works. This first publication on Erwin Osen describes a unique biography and focuses on the interaction with the art of Egon Schiele.

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Monuments and Myths is the first publication to examine the intersecting careers of Augustus Saint-Gaudens and Daniel Chester French, the leading American sculptors of the Gilded Age. With rich new thinking and stunning photographs, the catalogue examines the role America’s most iconic public sculptures in the complex negotiation of national identity. Featuring essays by leading scholars and impressive new photography of highlights of the collections of two treasured historic sites, Aspet and Chesterwood, the book re-examines public monuments that have defined and defied notions of American identity. Focused on Augustus Saint-Gaudens and Daniel Chester French, the beautiful catalogue offers a critical look at the artists’ public and private works in the context of evolving ideas about race and representation, Indigeneity, gender, civic space, memory, and American history.

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C.C. Wang (1907–2003) is best known as a preeminent twentieth-century connoisseur and collector of pre-modern Chinese art, a reputation that often overshadows his own art. Lines of Abstraction brings attention to Wang’s artistic experimentations. Spanning seven decades, the catalog focuses on the artist’s distinctive synthesis of Chinese literati ink art and American postwar abstraction. Born to a family of scholar-officials at the twilight of the Qing dynasty, Wang mastered the traditional ink and brush techniques in Republican China and immigrated to New York City. There he sought to perfect the literati painting, a genre associated with Chinese artist-intellectuals that blends calligraphy, painting, and poetry. Drawing inspiration from this historic art form, as well as New York’s artistic climate in the wake of World War II, he advanced breakthrough transformations in ink painting. Held twenty years after the artist’s death, a 2023 exhibit of Wang’s art was hosted by two venues, one at Hunter College and the second at the University of Minnesota. This exhibition catalog includes one hundred color images and features contributions by Daniel Greenberg and Joseph Scheier-Dolberg.

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The roots of the BMW Group lie in Munich. History was written here. The third edition of the book is being published in the jubilee year of the Munich home plant. It looks back on 100 years of lively history and describes the eventful present with impressive photographs and interesting stories from 1922 2022. The history of the BMW home plant lives in the buildings and the corporate culture, supported by over 7,000 employees. Their voices and statements as well as photographs from 100 years of the BMW works provide fascinating insights into industrial history. The publication also presents the industrial architecture over the decades alongside the constant modernisation of the production facilities, in order to be always one step ahead of the latest state of technology. The authors chart the riveting picture of a unique production location of the world-famous BMW brand.

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Reframing American Landscape: Women, Land, + Art illuminates the accomplishments of Susie Barstow and her circle, who painted the landscape in the nineteenth century and places them in conversation with women-identifying artists working today who expand and challenge how we think about “land” and “landscape” in our contemporary moment. Engaging diverse multigenerational perspectives and creative practices, this publication launches an expanded narrative around land and art that strongly positions women in the canon of American landscape art. It includes a deep look at the nineteenth-century landscape painter conversation with artists working today. For the first time, the nineteenth-century landscape painter Susie Barstow is given a solo exhibition and an in-depth publication. Well known during her lifetime, Barstow was written out of art history, but this book, which accompanies an exhibition of the same name, illuminates the significant accomplishments of the artist, and in doing so redefines the history of the Hudson River School. This book further explores how artists working today continue to engage landscape using multi-disciplinary artistic practices and diverse critical perspectives, that at times challenge art and historical narratives. Artists such as Ebony G. Patterson, Mary Mattingly, Tanya Marcuse, Anna Plesset, Wendy Red Star, Jaune Quick-to-See Smith, Kay WalkingStick, Saya Woolfalk, Cecilia Vicuña, and others, complicate and redefine how we now understand land through art.

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Kabul was once famous as a city of blossoming gardens. What once was, can one day become again, wrote the political scientist Ekkehart Krippendorff. In line with this motto, some twenty artists from Afghanistan, Kazakhstan, Iran, Turkey, the United States and Switzerland reflect on a different Kabul, without ignoring the past and present crises. Whether with a reference to the locality or starting out from intuition and imagination – the volume assembles newly created artworks which reflect on the Afghan garden as a microcosm of the entire world. It contains the life of humans with animals and plants in all its wonder and beauty. Contributions on the gardens of Kabul, the garden as a symbol of generosity and friendship and the history of a private garden near Teheran amplify the forward-looking vision.

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The monograph on Egon Schiele edited by Rudolf Leopold in 1972 forms the basis for Egon Schiele’s world fame. This important document of art-historical literature has long been out of print, but it is now available once more in a revised edition with an updated catalogue raisonné. At the same time this magnificent volume provides an insight into the artist’s life through letters, sketches and documents. Rudolf Leopold recognised back in the 1950s Schiele’s outstanding significance for art. He was largely responsible for ensuring that the artist received the place he deserved in art history and public awareness. The monograph presented Schiele’s paintings, watercolours and drawings chronologically in large-format colour plates. It is complemented by a profound examination of his motifs, studies, sketches and documents and provides a comprehensive overview. The current edition pays tribute to Leopold’s achievement.

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Wiebke Siem (1954 Kiel, DE – Berlin, DE) became known in the 1990s for extensive installations in which she alienated everyday objects, such as pieces of clothing, shoes, bags, or toys, or transformed them into oversized objects. Wiebke Siems uses pieces of furniture, objects, and materials with domestic connotations and whimsical, often puppet-like figures to create psychologically charged installations that are as oppressive as they are humorous and that raise questions about societal role models. Siem’s art repeatedly employs a formal language and a mode of presentation that refer to ethnological objects and collections. This enables her to comment on Modernism’s problematic appropriation strategies toward non-European art. In addition to borrowing motifs from art and cultural history, Siem critically engages the mechanisms of the male-dominated art business – a central theme in her oeuvre.

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The long-awaited work monograph on the biennial and documenta artist Reinhard Mucha. … For me, things only become interesting when they contain some mysterious corner somewhere which continues to elude us. And so I am really rather sorry that Mucha was not included, because he is formally incredibly good and is nonetheless twice or three times as unfathomable. - Harald Szeemann, “Zeitinvestition zu knapp”, in: Kunstforum International, vol. 90, July–September 1987 The Düsseldorf artist Reinhard Mucha (b. 1950) exhibited his work at the Biennale in Venice in 1990 and at the documenta in Kassel in 1997. His work is regarded as one of the most important positions in contemporary art for his redefinition of sculpture, photography and installations. The catalogue accompanying the artist’s exhibition unites installations which have not been seen for many years with works from all creative phases, thereby sketching a panorama extending over forty years of artistic work. The overview volume was created in close cooperation with the artist.

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Flowers have been a popular motif in art for centuries. As the epitome of natural beauty and earthly mortality since the Baroque era, flowers have lost none of their fascination for artists in the 20th and 21st centuries. Why does modern and contemporary art turn so frequently to this multi-faceted subject?

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Gustav Klimt (1862–1918) is the one artist whose name we associate in particular with Viennese Jugendstil and the “Golden Age”. As a sought-after painter of frescoes and the founding president of the Vienna Secession, as the portraitist of fashionable ladies and as an illustrator of unashamed eroticism, Klimt was both the enfant terrible and the darling of Viennese society, who created icons of art history with works like The Kiss and his portraits of Adele Bloch-Bauer.

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Cosmos: Silence and Infinite offers new approaches on the stunning art works of Eduardo Terrazas’s (1936) art works. Four well known authors present a multidisciplinary vision on the artists ongoing series Possibilities of a Structure. Which suggests at once a curiosity in the fabric of our universe and a profoundly human hope for an underlying rationality behind the chaos of the world. Eduardo Terrazas’s has explored a lifetime’s worth of questions about the nature of the universe through the microcosm of his images. He derives his visual reflections with a basic geometric structure and a technique that is inspired by the Huichol “tablas” from Mexican indigenous tribes. His highly colourful and playful series Possibilities of a Structure – of which Cosmos is a subseries – is ongoing since 1974 and holds over 650 works until today: an artistic exploration of the boundaries of the infinite.

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Light and space, transparency and beauty were the ideals in the art of Adolf Luther (1912–1990). More than many another artist, his numerous light integrations and optically fascinating concave-mirror objects left their mark on the reality and aesthetics of the Bonn Republic. This magnificent volume provides a new look at his works and their development. The monograph traces the development of this remarkable artist. From an early stage he crossed the borders of the traditional genre divisions in art, becoming an inspiration and role model for many contemporary artists today. Ultimately, Luther’s art collection, extending from Beuys to Ad Reinhard, testifies to an unconventional and open mind that continues to deserve to be rediscovered. The publication closes the gaps in research and attempts a new assessment of Luther’s artistic achievements.

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At the centre of René Myrha’s (*1939) expressive oeuvre lie landscapes and rigorous compositional room perspectives which are transformed into stage-like settings. They form the scenery for the choreography of his figures. Myrha examines them through specific media in drawings, oil, acrylic, sculpture and reliefs. Born in Delsberg in Switzerland, the painter encountered the contemporary movements of art and design during the 1960s in Paris and Milan. In the foreground of his activities lie forms and volumes which combine and breakthrough constructed and organically created spaces. In his later works they are animated by a surreal figural universe. The publication shows a representative cross-section of Myrha‘s oeuvre, from Pop Art to an obsessive preoccupation with a mysterious and dramatic world of figures.

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EVA & ADELE’s work finds its raison d’être in their permanent, lifelong performance which takes place worldwide throughout the public space. The work group CUM (lat. WITH) is the essence of the interactive process. It was acknowledged as early as 1997 in the Sprengel Museum with the solo exhibition CUM, and is continued to this day in a variety of media. EVA & ADELE requested one of two Polaroids taken by the public – co-performers – including a signature. Based on this they created a group of important drawings and paintings which they developed in the subsequent artistic process and have continued until today. The publication forms the work complex CUM in its entirety; the volume is completed by valuable text contributions by Robert Fleck, Lisa Schmidt-Herzog and Marcus Steinweg.

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Between 1933 and 1945, artistic creativity within the German Reich was almost totally under the control of the National Socialist state. Many artists emigrated. But what about the ones who remained in Germany? Under what social and economic conditions did they focus on their art and what options for activity were open to them? For artists who did not conform to the system, the years of National Socialism were an era of standstill and isolation. This volume questions this blanket judgement through 15 artist personalities and shows how differently they dealt with ostracism, the lack of audience and the absence of exchange, what possibilities they had for selling and exhibiting their works and to what extent they adapted to the requirements of the Nazi regime. Some 150 paintings, sculptures, drawings and photographs reflect graphically the contradictions of this time.

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Here Now: Indigenous Arts of North America at the Denver Art Museum features 200 of the museum’s most notable Indigenous artworks. It reinterprets the collection and reveals new insights into the historic and contemporary work of Indigenous artists. Contributions by Indigenous authors reflect on the collection and current issues. The expansive volume is for both new and established audiences. The artworks – from ancient Puebloan and Ississippian ceramics to nineteenth-century beaded garments and carved masks to cutting-edge contemporary paintings, sculpture, photography and variable media art – are organized geographically, inviting readers to make connections to the peoples who historically inhabited a place. The collection illustrates the multi-faceted nature of Native experiences and represents the Indigenous arts of North America as a vibrant continuum.

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This first full biography confirms Florine Stettheimer as one of the 20th century’s most significant, progressive artists whose work remains highly relevant today. Stettheimer was a feminist, multi-media artist who painted several sexually explicit, political, identity-issue-based works and documented New York City’s growth as the centre of cultural life, finance, and entertainment between the World Wars. During her first 40 years in Europe, Florine Stettheimer studied academic painting and was aware of all the earliest modernist styles prior to most American artists. Returning to New York, she and her sisters led an acclaimed Salon for major avant-garde cultural figures including Duchamp, the Stieglitz circle, poets, dancers, writers, etc. During her life she showed her innovative paintings in over 46 of the most important museum exhibits and Salons, wrote poetry, designed unique furniture and gained international fame for her sets and costumes for the avant-garde opera, 4 Saints in 3 Acts.

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Chakaia Booker: The Observance accompanies the first comprehensive museum survey of the American artist. The publication explores the artist’s signature form—monumental works made of rubber—while showcasing her innovations across mediums. Featuring an expansive range of Booker’s sculptures, including totemic and anthropomorphic assemblages fabricated from cast-off tires, the volume highlights Booker’s ongoing expression of ecological and technological concerns, examinations of racial and economic disparities, and her interest in the symbolism of the automobile in American culture. The exhibition and accompanying publication Chakaia Booker: The Observance include some of Booker’s most topical works, including Chu Ching (2012), which depicts a cross on a wheelbarrow resembling Jesus being dismounted from the cross, as well as two rarely seen series of paintings that explore landscape and language. The artist’s photographic series, Foundling Warrior Quest (2010) and Graveyard Series (1995), are also featured to explore the importance of performance and mythology in her practice. Anchoring the presentation is The Observance (1995), an immersive installation made of deconstructed rubber tires and tubes—Booker’s first work in this signature material, chosen by the artist for its associations with riots.

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Stirring paintings, colourful picture collages made from countless scraps of paper, moving photo collages – the art of Tammam Azzam (*1980 in Damascus) is multi-faceted, political and topical. The publication provides a comprehensive overview of the oeuvre of the Syrian artist and describes his career over the past 20 years. Twenty years of the life and work of Tammam Azzam – from Syria and Damascus via Dubai to Delmenhorst and Berlin, where the artist has lived and worked since 2018. The volume Bilder ohne Namen / Untitled Pictures traces Tammam Azzam’s life and his art, from the early reduced paintings via the digital photomontages and the large-format pictorial collages to his latest acrylic pictures. Azzam’s iconic pictorial inventions engrave themselves into our memory.

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Udo Rein (b. 1960) is a video artist and painter and lives in Munich. In his work he examines social and cultural contrasts worldwide. His pictorial language starts out from documentary film sequences and builds on fractal constructions and deconstructions which he translates into collages of film stills and oil and acrylic paints on wood panels. Our society frequently presents us with polished surfaces and clear structures. These serve as the starting point for Udo Rein, whose pictorial compositions then lead us deep into the back streets and abysses of our worldviews. Looking beneath the veneer opens up perspectives in a multi-faceted but also contradictory world which is both erotic and mysterious. The lavishly illustrated volume is the first comprehensive monograph on the artist’s impressive oeuvre.

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In the first exhibition highlight of the year, three outstanding artists – Wilhelm Lehmbruck, Georg Kolbe, and Ludwig Mies van der Rohe – are being brought together for the first time at Haus Lange in Krefeld. Figurative sculpture, as repeatedly integrated into designs and buildings by the architect Mies van der Rohe, is thus placed in direct dialog with the building, the design, and the gardens of Haus Lange. The background for the interplay between architecture and sculpture is the natural-philosophical climate, which, in the early twentieth century, influenced a wide range of disciplines. On display will be roughly twenty-five sculptures by Lehmbruck and Kolbe as part of the organic body of Haus Lange.

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Philip Grözinger’s art derives from his investigations of future-oriented visions. With his individualistic painterly signature he invites the viewer to join him on a surreal journey through the pictorial traditions of the Pop culture of recent decades. This volume is a retrospective which provides a comprehensive overview of his outstanding oeuvre. If there were such a thing, Grözinger’s works could be classified as Virtual Surrealism. Figures in space suits, black manikins and other figures encounter one another in a fictional cosmos. Against a background of abstract worlds they tell stories which follow their own physical laws. In painterly manner, Grözinger combines lurid contrasts with delicate, pastel-like shades. His paint application is based on that of miniature painting and gives the cartoon-like creatures human features as it draws the viewer into the artist’s fantasy world.

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Landscapes of Extraction explores the art of mining, the transformative industry of the American West, competing in sublimity and striking color with the natural scenic landscape on its own terms. These landscapes of enterprise altered the natural environment on a spectacular scale, with open pit mines, coal tipples, and oil rigs. How artists portrayed the mining industry in the American West is explored in the book with four scholarly essays. Artworks were inspired by the multiple landscapes created by large-scale mining, specifically the mines themselves, the towns that grew up around them, and the miners and their families who lived and worked there. The industry shaped communities and landscapes throughout the West: Arizona, California, Colorado, Montana, New Mexico, Nevada, Oklahoma, Texas, and Utah. Landscapes of Extraction explores a powerful regional narrative that is a fundamental element of national identity played out on a vast geographical scale.

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A place for representation, self-presentation and communication, resistance and protest – this lavishly illustrated volume investigates the multi-layered significance of the street in the art of the twentieth and twenty-first century as an interface for diverse walks of life and groups through international positions in painting, graphics, photography, film, performance and installation. Around 1900, the street moved into the focus of artists in the wake of industrialisation and urbanisation as an elemental component of life. Starting with the Futurists and the Expressionists, who made the street a symbol for modern life full of promises and conflicts, the subject runs like a thread through art: as a social psychogram; as the expression of collective and individual longings and fears; within the context of happenings or graffiti; and currently also redefined within the framework of ecology, sustainability and democratic movements.

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At the turn to the twentieth century, architects began to realize that architecture should no longer find ist expression in historic styles. They had recognized that the reason for arbitrarily resorting to historical building forms established in advance was that the design process had been completely separated from construction. In spite of the incidental paths of architectural design approaches, there seems to be a consensus emerging in view of today’s global challenges: It is no longer just a question of what shall I build or how shall I build. Instead, the question is how shall I organize and improve my design tools to new dimensions of architecture in order to increase building performance while saving resources and energy and to let digital design solve design tasks that could hardly be solved previously? Today, many projects are pointing in this direction and seem to inaugurate a sustainable fourth dimension of architecture. This book is a comparative critical analysis of such seemingly incidental design approaches, and thus it is an attempt to serve as a historical scenario for the future.

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Kimbel and Cabus were among the most progressive design reformers of their time. This is the first publication to explore the timeless American immigrant success story of the trailblazing New York City design team who captured national attention with their imaginative furniture forms and defined a significant aesthetic in the United States. Kimbel and Cabus produced an amazing variety of Modern Gothic furniture and worked in a panoply of styles to satisfy the broadest range of markets. They also produced one of the first photographic catalogues for use as a selling tool. Their remarkable story is painstakingly reconstructed using primary sources to illuminate the importance of this progressive company as illustrated through period documents including advertisements, city directories, census and credit reports, and other printed materials alongside new photography.

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