Search results for ""hirmer""

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

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

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

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

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

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

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

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

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

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The artists as explorers: the Expressionist artists Kirchner and Nolde studied non-Western lifestyles and incorporated them into their artistic projects. Between “armchair anthropology” practised in the museums and “field-work anthropology”, which also took place in the colonies, both artists contributed to the construction of an (imagined) “other”, offering an alternative to bourgeois, “civilised” society in Germany. Ernst Ludwig Kirchner and Emil Nolde both spent time between 1910–11 studying objects and materials in ethnographic museums, but before long they expanded their investigations to include travels to colonial regions (Nolde) and the staging of “exotic” studio environments (Kirchner). The publication examines how both approaches evolved through an interplay between art, early German anthropology and colonial enterprise within the German Empire at the beginning of the 20th century. It contains not only paintings, drawings, sculptures, photographs, posters and documents, but also a variety of texts offering a broad overview as well as relating a specific narrative. Languages: English, Dutch, Danish

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

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

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

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

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

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

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

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

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

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

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

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

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

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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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