Search results for ""hirmer""

This book spotlights a complex art collection established at the intersection of modern art and social justice. In 1963, as civil rights protests swirled across the fiercely segregated state, this historically Black college became an unlikely hub in Mississippi envisioned as “an interracial oasis in which the fine arts are the focus and magnet.” Since its founding in 1869 by the abolitionist-led American Missionary Association, Tougaloo College has made the fight for equality central to its mission. In 1963, Tougaloo became the nexus for modern art in Mississippi, when leaders of the New York art world began a rich program of art acquisitions. This publication features two essays and approximately thirty-five selections from this distinctive collection by diverse artists such as Francis Picabia, Jacob Lawrence, and Alma Thomas.

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Over the course of seven decades, Twinka Thiebaud has collaborated with thirty artists working in photography, painting, and drawing. This catalogue explores her body of work as an artist’s model alongside developments in photographic techniques and technology, and the role of nature in defining West Coast experimentation. This is the first book to highlight Twinka Thiebaud’s long career and influence as an artist’s model, while also exploring the artistic processes of numerous West Coast-based artists working today. Comprised of 120 paintings, drawings, and photographs that date from the 1940s through 2021, this catalogue’s essays and interview investigate the body/nature relationship in photographs of Thiebaud from the 1970s and 2000s, and her collaborations with such artists as Judy Dater and John Reiff Williams.

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Quite apart from her position as the wife and model of Lovis Corinth (1858–1925), Charlotte Berend-Corinth (1880–1967) shone as an artist and was, like Käthe Kollwitz, one of the few women members of the Berlin Secession. This bibliophile monograph is dedicated to the highly gifted, successful and unfairly neglected artist and presents an impressive synopsis of her oeuvre. Berend-Corinth pursued a remarkable career with ultra-modern, radical subjects in the Berlin of the 1910s and 1920s until her Jewish descent compelled her to leave Germany and to emigrate to the United States. Her early work, in which she captured the permissive mood of the Berlin art and theatre scene during the 1910s and 1920s, represents one main area of focus, as do the later portraits of famous personalities of her time and some of her remarkable self-portraits, still lifes and landscape pictures.

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The Gerd and Helga Plewig Collection of Bark Paintings from Northern Australia with works mainly from the 1950s to 1970s is presently considered the best collection of its kind outside of Australia. It includes works from the Kimberley, Wadeye, the Tiwi Islands, Arnhem Land and Groote Eylandt by artists like Yirawala, Mawalan Marika and Mungurrawuy Yunupingu. Painting on bark is part of a continuing artistic tradition of Australian Aboriginal people intimately related to long-established practices of body decoration, rock painting and the manufacture and decoration of various objects in sacred and secular spheres. It is thought to have been practiced for centuries, but has only been known to European researchers and collectors since the early 19th century. Bark painting relates to the time of creation which underlies the present and determines the future.

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Important artists of Hungarian Classical Modernism lived and worked temporarily on the Spree and were present in the Berlin avant-garde. The publication presents a brilliant overview of the close links between the culture of the Weimar Republic and the creative powers of Hungary, which ended with the seizure of power by the National Socialists. The city of Berlin has played a very special role in the history of Hungarian art and culture. Even before the First World War, the expanding metropolis provided artists with a stage for exhibitions in which they could present themselves within an international context. After the end of the political reshaping of Hungary through the Hungarian Soviet Republic and the victory of reactionary forces, from 1919 cosmopolitan Berlin became a place of creative freedom for Hungarian artists in exile. The result was a display of artistic fireworks that can now be explored in texts and images.

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Using collage and montage as a medium and always in connection with his own biography, Marcel Odenbach investigates politically and culturally relevant topics of his time, such as for example the process of coming to terms with Nazi crimes, remembrance culture, the effects and after-effects of European colonialism in Africa, racism and time and time again the relationship between the individual and society. The artist Marcel Odenbach (*1953) lives in Cologne, Berlin and intermittently in Ghana. Since 1976 he has worked with video. His filmic collages and installations have contributed to the fact that today video art is a central medium in contemporary international art. Parallel to this he has created a wide-ranging graphic oeuvre. In the joint consideration of his video and paper works it becomes clear that Odenbach regards art and culture under a socio-political perspective and at the same time relies on the strength of the sensuous-aesthetical experience of images.

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Lying between deserts, mountain chains and seas, Iran developed a fascinating cultural landscape. 360 objects from the time of the first advanced civilisations during the 3rd millennium BC until the end of the Safavid Empire in the early 18th century illustrate the outstanding significance of Iran as the initiator and centre of intercultural exchange. Exquisite artworks from the Sarikhani Collection in London and the Staatliche Museen zu Berlin invite visitors to embark on a journey in time through the cultural heritage of Iran. The highlights include the great pre-Islamic empires of the Achaemenids and the Sassanids, the establishment of a Persian-Islamic culture, the masterly artistic achievements of the 9th to the 13th centuries and the Golden Age of the Safavids. They are brought together as in a multifaceted kaleidoscope in the copious illustrations and provide insight into the art of the courts and the urban elites.

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The perception of nature and landscape is a central theme for the Italian artist Gianni Caravaggio (b. 1968). His poetic sculptures and installations aim to arouse in the viewer the memory of feelings evoked by the experience of nature and focus on the essential unity of man and nature. In his timeless works Gianni Caravaggio examines the invocation of unconscious images of nature which result from the relationship between material, space, time and man. A key expression here is landscape which no longer represents, but is to be conveyed as “pure perception” in the sense of Kazimir Malevich. The combination of traditional materials – bronze, marble or wood – with everyday substances such as talcum powder or sugar, as well as the presentation of the sculptures directly on the floor, exerts a unique attraction by virtue of their reduction.

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Art Along the Rivers: A Bicentennial Celebration coincides with the Missouri state bicentennial. The catalogue brings together the region’s paintings, sculptures, works on paper, furniture, ceramics, metals, textiles, and more to reveal and celebrate their shared artistic history. Beginning with the ancient Mississippian culture followed by the Osage, French, African American, German, British, and artists today, these communities developed rich artistic traditions that have vibrant legacies. Art Along the Rivers: A Bicentennial Celebration marks the 200th anniversary of Missouri’s statehood. This exhibition catalogue presents extraordinary objects produced or collected within a 150-mile region around St. Louis. As a celebration of the cultural and artistic traditions of this region, the catalogue looks within— and beyond— the years of statehood to reveal how the region’s geography, raw materials, and pressing social issues shaped over 1,000 years of rich artistic production. Though these objects have rarely been considered in connection with one another, the catalogue brings them into dialogue to establish and celebrate their shared artistic history and serves as the first significant publication to introduce this primary artistic material to a global audience.

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Louis Alphonse Poitevin was an outstanding inventor, chemist, engineer, scientist, artist and photographer. This publication provides a unique opportunity to cast a wide-ranging gaze at the life and work of the famous pioneer of photography on the basis of a large number of photographs and the results of the latest research. For over 35 years Poitevin (1819–1882) experimented with chemical and mechanical processes in order to make photographs printable and more durable. Poitevin recognised how important photography would become as a means of illustrating printed books. He developed the first practicable processes which could be applied in order to make the printing of books illustrated with photos possible for the very first time. This volume assembles photographs and the results of experiments which permit a comprehensive insight into Poitevin’s work and which set his achievements in a technical and art-historical context.

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For the past forty years, Jurgen Schilling (b. 1954) has been drawing the landscape of southern France. The art historian Wilhelm Schlink has accompanied his career from the beginning as a friend and collaborative thinker. Schlink describes in lively manner the artist’s approaches and reflections, especially against the background of the current debate about contemporary interpretations of the landscape. Since the 1970s Jurgen Schilling has found inspiration in the rough countryside between the Mediterranean, the Corbieres and the Minervois, where the natural elements can be experienced at first hand. Based on his studies of art history and philosophy relating to the broad field of landscape representation, he has created an oeuvre driven by the imperative of doing justice to events and experiences. Schilling uses in his work the raw materials and pigments found on location. A first retrospective of his work was held in Carcassonne in 2012.

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Elina Brotherus (* 1972 in Helsink) works in photography and moving image. Her work has been alternating between autobiographical and art-historical approaches. Photographs dealing with the human figure and the landscape, the relation of the artist and the model, gave way to images on subjective experiences. Why not? is the artist’s first solo exhibition in a German museum and consists of around forty photographic works and two videos. A catalogue is appearing with illustrations of all the works and essays which both continue and deepen the discourse. Languages: English and German

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Thomas Cole’s influence after his death, through both the finished and unfinished paintings that remained in his self-designed studio, was truly profound. This book brings new understanding to Cole’s last paintings and how they affected later artists. Written by one of the foremost American art historians, it examines the artist’s ambition to create paintings that expressed complex and elevated meanings. Images of works not seen for many years will illustrate Cole’s intentions and influence.

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The German-Swedish artist Ann Wolff is a pioneer of the studio glass movement in Europe. Born in Lübeck in 1937, she has achieved international fame for her sculptures which mainly use the material glass, but she has always drawn as well.This volume now presents a collection based on a selection of sixty hitherto unpublished drawings from the 1980s. The works, executed in pencil on paper, focus on a female figure seen in reflections and duplications, sometimes surreal and whimsical in connection with animals and intermediate beings, and sometimes with a man or a child: dream worlds, pictures of the subconscious, often inspired by fairy tales. The pictures unfold their narrative potential as investigations of the female self in the social milieu of an age characterised by feminist movements and discussions regarding the relationship between the sexes.

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The artists featured in The Black Index—Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas—build upon the tradition of Black self-representation as an antidote to colonialist images. Their translations of photography challenge the medium’s long-assumed qualities of objectivity, legibility, and identification. Using drawing, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and historical understanding. The works featured here offer an alternative practice—a Black index. In the hands of these six artists, the index still serves as a finding aid for information about Black subjects, but it also challenges viewers’ desire for classification and, instead, redirects them toward alternative information.

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Starting with Helmar Lerski’s outstanding photo series Metamorphose – Verwandlungen durch Licht from 1935/36, the magnificent volume Faces – The Power of the Human Visage presents portraits from the era of the Weimar Republic. The photographs taken by the photographers of the 1920s and 1930s achieved a radical renewal of portrait photography. Portrait photos traditionally served to depict the personality of an individual. The photographers of the interwar years saw the face as material to be presented in accordance with their own ideas. Through the photograph of a face they explored aesthetic considerations as well as the politicalchanges that took place during the Weimar Republic. Modernist experiments, the elationship between individual and type, feminist roles and political ideologies collided and hence expanded the concept of portrait photography.

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The impressions which Paul Klee collected on his journey to Tunisia in 1914, and especially to the city of Kairouan, were of fundamental significance: »Colour and I are one. I am a painter.« A few years later, in 1921, Wilhelm Hausenstein placed his friend Paul Klee at the centre of his book Kairuanand was thus one of the first people to recognise the artist’s genius.This commented edition, which opens with a foreword by Peter Härtling, combines Hausenstein’s original text with important works by Klee and a profound essay by Michael Haerdter. Its particular charm lies in the combination of Klee monograph, novel narrating the development of the artist and exclusive book presentation: a treasure for established lovers of Klee as well as those whose interesthas just been awakened. It grants an incomparable insight into the life of Paul Klee as an artist within the context of European art and society.

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This catalogue accompanying the exhibition Invisibilia constitutes the first substantive monograph on Oscar Munoz’s work in English. The publication aims to become one of the most significant research resources published on the artist’s work to date by addressing the entire span of the artist’s career, beginning in the 1970s and continuing to 2020. This publication on Oscar Munoz’s artistic practice contributes to the field of conceptual photography both within and beyond the Latin American context. Bilingual Spanish translations effectively extend both the publication’s impact and its international reach. The diverse cadre of scholars who contributed to the book offer new perspectives and fresh takes on frequently discussed artworks that are here given a new slant. A comprehensive chronology that charts Munoz’s artistic evolution alongside the development of the artistic scene in Cali and national events in Colombia effectively roots the artist’s works in its cultural and historical context.

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Historical events and our knowledge of them mould our understanding of today’s world. The interdisciplinary authorship of this volume focuses on the connection between past and future. A bold and unusual publication whose approaches and themes extend from biographical experiences via intergenerational exchange to the discussion of current social phenomena.To what extent does (lack of) knowledge of the past influence our view of the present and our tales of the future? Authors from the realms of history, art, philosophy, journalism, poetry, cartoons and film investigate complex everyday reality in history and the present and direct their attention towards the shifts in political hegemonies which lead to ostracism, denigration and destruction. They have explicitly chosen an international perspective which shows that social polarisation and radicalisation are not phenomena limited by national boundaries, but are universal social manifestations in a globally interlinked world.

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The elements of Astrid Lowack’s (*1969) photographic-artistic transcendence are light, movement and water. As the driving forces of life they relentlessly bring about change and reflect our innermost being –our feelings and experiences. Her snapshots remain thereby constant imaginative challenges to human perception.Astrid Lowack’s photographs are experimental mirrors of the emotional world. They visualise consciousness and unconsciousness, abysses and metamorphoses. Our fears and apocalyptic chaos appear in a new perspective, and so does paradisiacal equilibrium. The artist explores unknown ways of thinking and worlds of feeling and immerses herself through her photographic works in the individual experiences of humankind.

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Natela Iankoshvili is regarded as the most important woman artist in Georgia during the 20th century. Born in Tiflis in 1918, she spent her entire life in Georgia. The career of the prize-winning artist was crowned in 2000 with the opening of her own museum in the capital, to which she bequeathed over one thousand works from her unconventional oeuvre. Although she was socialised in the Soviet Union, until her death in 2007 Natela Iankoshvili never painted according to the dictates of Socialist Realism. Her highly individual works exhibit a brushwork that vaguely recalls the art of Niko Pirosmani, Paul Gauguin or El Greco, and radiate such colour force that their brilliance is often compared with that of jewels. This impression is also created by the strong contrast with the mostly black background of her paintings, which are all representational.

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Breaking out of Tradition traces the pioneering developments in lacquer art at the beginning of the 20th century in Japan. The lacquer artists of that time adopted a critical and creative approach to the centuries-old traditions, experimenting with innovative techniques and new materials, thereby also providing new stimuli for Western art. The publication examines the revolution in Japanese lacquer art from the end of the 19th until the middle of the 20th century. In an era marked by political and cultural change the founding of art societies and academies led to the strengthening of artists as individuals. Traditional values stood in opposition to modern tendencies, in many cases coming from the West. In the search for a modern identity, lacquer art experienced a golden age characterised by creativity, innovation and a wealth of ideas.

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Emigration, being lost in a strange world, the search for a new identityand longing for things and people that have been lost form the central topics in the work of the Albanian artist Adrian Paci. The volume presents his iconic works which have earned him a world reputation. Adrian Paci emigrated from Albania to Italy with his family in the late 1990s. His own experience of flight, of giving up shared communities and his searching for a new identity have left their mark on his artistic work. Over the last 20 years expressive works have been created in the form of videos, photos, painting and sculptures which treat theseexistential experiences. The accompanying essays take up this politically topical subject and examine Paci’s oeuvre from various angles. An interview with the artist rounds out the volume.

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The elephant is a much-admired animal, but it is also endangered. The ivory from its tusks has been in great demand across the centuries and throughout all cultures. What sort of material is it? How has it been used in the past and the present? And what can we do today to protect the world’s largest mammals from poachers? This lavishly illustrated volume embarks on a journey through cultural history and takes up a contemporary position. Ivory fascinates. As long as 40,000 years ago people carved mammoth tusks into artful figures and musical instruments, and it remains popular as a material to this day. Ivory polarises, because the animal’s tusks also stand for injustice and violence. The exploitation of man and nature, the threatened extinction of the elephant, poaching and organised crime are phenomena which we associate with ivory. The publication approaches the subject critically and poses the question as to our responsibility in our dealings with both animal and material.

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In the last five decades the popularity of outsider art – works by artists working outside of the art establishment – has grown exponentially. Museums, galleries, and the public worldwide have embraced these powerful works. Victor Keen’s Collection at the Bethany Mission Gallery, Philadelphia, is one of the leading outsider art collections in the U.S. Gathering masterful artworks from Victor Keen’s collection, Outsider & Vernacular Art presents pieces from more than forty outsider artists, including such luminaries as James Castle, Thornton Dial, Sam Doyle, Howard Finster, William Hawkins, Martín Ramírez, Bill Traylor, and George Widener. In addition to these outsider artworks, the book also features folk art and vernacular art, including one of the best collections of delightful colourful Catalin radios from the 1920s to the 1940s. The more than two hundred colour images of these works are accompanied by essays from Frank Maresca, Edward Gómez and Lyle Rexer. Published to accompany a major exhibition at the Sangre de Cristo Arts and Conference Center in Pueblo, Colorado, in October 2019 – the first station of a travelling exhibi-tion – Outsider & Vernacular Art offers an exciting look at this universally beloved and revered art form.

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Making van Gogh focuses on the œuvre of Vincent van Gogh in the context of its reception. The publication examines the particular role which German gallerists, collectors, critics and museums played in the story of his success. At the same time it sheds light on the importance of van Gogh as a role model for the avant-garde generation of artists.“Van Gogh is dead, but the van Gogh-chaps are alive! And how alive they are! It is van Goghing everywhere”, was how Ferdinand Avenarius described it in 1910 in the magazine Der Kunstwart. Vincent van Gogh’s paintings exerted a particular fascination on young artists in Germany at the beginning of the twentieth century. Barely fifteen years after his death the Dutch artist was seen as one of the most important forerunners of modern painting. A selection of key works from all van Gogh’s creative phases are juxtaposed with works by Max Beckmann, Erich Heckel, Ernst Ludwig Kirchner, Paula Modersohn-Becker, Gabriele Münter, Karl Schmidt-Rottluff and others.

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How do digital photography and Photoshop influence the representation of architecture? Fiction & Fabrication assembles fascinating contemporary photographic works from all over the world. From fictional constructions to real buildings which sometimes seem more fantastic than fiction, the works show an impressive portrait of contemporary architecture and the urban landscape that surrounds us. An exciting change is currently taking place in architecture photography: apparently neutral, realistic illustrations are giving way to the creation of an individual reality. New techniques permit unusual angles and perspectives, and digital processing allows for the manipulation of reality. Fine artists have long discovered the formal language of architecture as a subject. By means of a wide range of contemporary artworks this volume shows the visual bandwidth which architecture photography demonstrates in our post-digital age. With works by: Doug Aitken, Thomas Demand, Filip Dujardin, Roland Fischer, Andreas Gursky, Edgar Martins, Erwin Olaf, Hans Op de Beeck, Bas Princen, Thomas Ruff, Philipp Schaerer, Hiroshi Sugimoto, Wolfgang Tillmans, Jeff Wall and many more.

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Uninterrupted Fugue offers a selection of critical essays about the art of Palestinian artist Kamal Boullata, covering 40 years of his career. Written by an international constellation of critics, art historians and museum curators coming together for the first time in one book, they reveal a wide range of analytical perspectives on the unfolding of abstract art in exile. Readers interested in contemporary art beyond the Western canon, will find in this lavishly illustrated book rare insights into an aesthetic where frontiers are crossed between verbal and visual expression, between modernity and traditions rooted in Byzantine and Islamic art.

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DHC/ART LIBRE tells the story of a contemporary art foundation unlike any other. Situated in the cosmopolitan city of Montreal, DHC/ART – as well as this publication – is dedicated to bringing impactful experiences with contemporary art to the public with a mission of accessibility on multiple levels. The critically-acclaimed program includes major artists from around the world, like Christian Marclay, Joan Jonas and Yinka Shonibare MBE. The publication chronicles the evolution of DHC/ART – since its launch in 2007 by Phoebe Greenberg – and through its story provides a platform for critical essays that open up larger questions about the potential for innovative institutional models to develop contemporary art audiences for the future. Amongst the contributors are Sarah Thornton and Jan Verwoert. The DHC/ART Education department provides an account of their critical pedagogy while the book is rounded out with a questionnaire on the use-value of Installation View photography with contributions from Simon Starling, Barbara Clausen, JiaJia Fei, Brian Droitcour, Vincent Bonin and Richard-Max Tremblay.

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Wilhelm Kuhnert was a pioneer. He was one of the first European artists to travel to the largely unexplored savannahs and jungles of the German colonies in North and East Africa. Under hazardous conditi ons he documented at close quarters the fascinating animal and plant world and then created in his Berlin studio monumental paintings which were much sought - after on the art market. Like no other artist of his time Wilhelm Kuhnert (1865 – 1926) has moulded our image of Africa. In his seductively realistic drawings, watercolours and paintings he recorded with almost scientific accuracy the characteristics of the animals and their habitat. It is not surprising, therefore, that his pictures illustrated on the o ne hand legendary reference works like Brehms Tierleben and adorned on the other the popular collector cards of the chocolate manufacturer Stollwerck. The volume shows a comprehensive, exciting portrait of Kuhnert’s unusual life and works and takes into account at the same time the current debate on attitudes to Germany’s colonial past.

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Fully integrated into the nature of the Corinthian countryside, the Museum Liaunig is at once restrained and spectacular. An outstanding example of contemporary museum architecture, it creates spaces for the Liaunig collections whose focus is on Austria n art from the post - war era to the present. “I am a collector by nature”, Herbert Liaunig says about his passion for collecting in an interview. Knowledgeable and passionate about art, Herbert Liaunig has assembled his collections and has presented them i n major theme - based exhibitions at his museum. Aside from the focus on Austrian art from the post - war era to the present, a high quality standard is also evident in the collections of portrait miniatures, glasses, and African gold. The richly illustrated c atalogue presents his collecting in its full breadth.

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In the early 19th century, artists and printers embraced the new medium of lithography, an innovative method to mass - produce and distribute images. Known for its collection of French prints and posters, the Zimmerli Art Museum at Rutgers University has rich holdings of lithographs made over the course of the 1800s, including examples from lithography’s early years in Paris to iconic color posters from the 1890s. Invented around 1796, lithography introduced a new proc ess and new opportunities for the creation and circulation of printed images. Artists, printers, and publishers embraced the new medium for its relative ease and economic advantages as compared with the established printmaking media of woodcut, engraving, and etching. Taking root in Paris around 1815 after the fall of Napoleon’s empire, the art and industry of lithography grew in tandem with the city as it became Europe’s artistic and urban capital over the course of the nineteenth century. Lithographs play ed a distinct role in both documenting and advancing (and often satirizing) the various and competing art movements of the period as publishers responded to the unprecedented demand for printed images of all types.

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This book highlights two series of little known drawings from the 1950's, drawings where Andy Warhol first explored the controversial and for him deeply personal subject of drag. His oeuvre during the first decade of his career, before he became the god father of Pop, has proven to be enormously influential on his life's work but remains little known. In 1953, Warhol created two unique series of drawings, quite different from his commissioned work. In one series, he developed an ensemble of spirited wome n that were derived from photographs of stage divas and — of men in drag. He delved deeper into the art of dressing as the opposite sex with his second series, a set of portraits of men posing in high and low drag. This book considers Warhol's work and its d ebt to newly discovered photographs that his friend, photographer Otto Fenn, staged explicitly for Warhol’s purpose. Drag & Draw sheds light on New York's secret gay and drag scenes during the repressive 1950s

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When over 1,000 artworks by outstanding artists of the modern era appeared on the scene in 2012, the find was celebrated as a sensation, though the suspicion that it might be art looted by the Nazis also reared its head. This extensive, lavishly illustrated publication documents for the first time a selection of works from the estate of the art dealer Hildebrand Gurlitt and examines the turbulent story of the ‘Gurlitt art trove’. In addition to the presentation of the pictures, the estate of Cornelius Gurlitt (1932 – 2014), the son of the art dealer Hildebrand Gurlitt, is set in its historica l context by a prestigious list of authors, thereby ensuring transparency and enlightenment. One important topic is the provenance of the works, which in some cases were vilified by the National Socialist regime as “degenerate art”. Which works in this col lection are looted art? Which ones were purchased legally, and which ones were acquired in forced sales? Another area of focus will be the biographies of Jewish collectors and artists who were the victims of art theft and the Holocaust. A further topic of investigation is how stolen works were returned to the museums and private collections after 1945. The official catalogue of the Kunstmuseum Bern and the Kunst - und Ausstellungshalle der Bundesrepublik Deutschland (Bundeskunsthalle) in Bonn permits for the first time a nuanced understanding of this case which is unique in the postwar history of Germany.

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Generously illustrated with photographs from early twentieth century reformers to contemporary artists, this collection of essays re-examines the genre of social documentary photography through the shifting lens of photographic objectivity, modes of dissemination, and the passions animating documentary projects. While the public’s acceptance of photographs as visual evidence made documentary photography possible, canny interventions employed by image makers and their editors alternately exploit and dismantle assumptions of the medium’s transparency, testing our wish to see pictures inspire social change. Among the photographers included in the exhibition and book are Berenice Abbott, Max Alpert, William Castellana, Walker Evans, Larry Fink, LaToya Ruby Frazier, Lewis Hine, Boris Ignatovich, Dorothea Lange, Igor Moukhin, Gordon Parks, Alexander Rodchenko, Arthur Rothstein, Sebastião Salgado, Arkady Shaikhet, Aaron Siskind, W. Eugene Smith, Weegee et al.

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Ally brings together three artist personalities who are all outstanding in their fields: the sculptor and photographer Janine Antoni and the dancers and choreographers Anna Halprin and Stephen Petronio. Together they created a series of works – sculptures and installations as well as film and performance artworks – which the volume reproduces in impressive photographs. When invited to create a retrospective of her sculptural works, t he artist Janine Antoni preferred to ask herself what her works would look like when interpreted by other artists and translated into movement. Together with the choreographers Anna Halprin and Stephen Petronio she created unique perfomance artworks whose main focus lies on corporeality. It reveals the enormous potential that lies in the combination of sculpture and dance. Critical essays by writers and art theorists accompany the encounter between artists from different generations and genres and show how they have created together a new pictorial lan guages.

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Colourful, emotional, impulsive and modern – these are the qualities which characterise our ideas of German Expressionist painting. It is hard to believe that the works caused a scandal when they were first created. And yet, artists and writers were united in the vision of a new beginning combined with fundamental social criticism. Many aspects like the social problems of the big city, the sleazy glamour of the world of entertainment and the rejection of new technology remain surprisingly topical to this day. Immerse yourself in the powerful images and texts of world literature and embark on a journey of discovery through the world of the early 20th century with its atmosphere of change and decay. With works by Max Beckmann, Heinrich Campendonck, Lyonel Feininger, George Grosz, Erich Heckel, Alexej von Jawlensky, Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, Oskar Kokoschka, August Macke, Franz Marc, Ludwig Meidner, Paula Modersohn-Becker, Otto Mueller, Gabriele Münter, Emil Nolde, Max Pechstein, Marianne von Werefkin et al. With texts by Walter Benjamin, Gottfried Benn, Anton Chekhov, Alfred Doblin, Theodor Fontane, Oskar Maria Graf, Franz Kafka, Else Lasker-Schuler, Heinrich Mann, Klaus Mann, Thomas Mann, Robert Musil, Vladimir Nabokov, Rainer Maria Rilke, Joseph Roth, Arthur Schnitzler, Herwarth Walden, Stefan Zweig et al.

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Founded in 1947 on the basis of the spirit of humanism , the Magnum ph oto agen cy has mostly focused its gaze on a wor ld in times of unrest, collapsing social structures and polarisi n g p oliti cs . This volume is being published to mark the 70 th birthday of th e agency . W ith a selection of iconic pictures f ro m the archive of the agency , it illuminates another of the basic pil lars upon which Magnum rests : community . The community is marked by conflicts and ruptures, and yet we cling to the sometimes n ostalgi c - seeming idea of the harmoni ous coexistence of man. All this is shown in the world - famous photos from the M agnum a rchi v e – from pictures of dramati c events of world history to quiet , private insights into our daily lives . Over 100 photos from the past 70 years have been selected f or this volume . They are pictures which belong to our c olle c tive memory and which testify to the power of photography . They all illustrate the basic aim of Magnum : to create influential works which enlighten and help to create a better world .

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In the historical period of new beginnings starting in the 1950s, the collector Rudolf Leopold (1925‒ 2010), with pioneer - like foresight and a keen sense of art, was able to do someting few others of his ilk succeeded in doing: build up a large, both aesth etically sophisticated and art historically relevant collection of international renown. The biography paints a picture of Rudolf Leopold as a fascinating collector. It is based on the personal memories of his son, Diethard Leopold, and the latter’s conve rsations with his father, relatives and contemporaries, as well as with competitors of his father. It is the lasting record of a lifelong effort to preserve what has defined a cultural period. Beginning with Schiele as core artist, his collection includes numerous major works by the likes of Klimt, Kokoschka, Gerstl, Egger - Lienz, and Kubin as well as by German Expressionists. Important furniture, arts and crafts, jewelry, and African and Japanese art complement the collection.

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As its centenary year gets underway, ARRI looks back at its rich history, assesses the values and principles that have helped it reach this milestone anniversary, and sets its sights firmly on the future. 2017 marks 100 years since August Arnold and Robert Richter rented a small former shoemaker’s store in Munich and set up shop as a film technology firm. The two young friends started with just one product: a copying machine they built on a lathe Richter ha d received as a Christmas present from his parents. Taking the first two letters of their surnames, they christened their new enterprise ARRI. Arnold and Richter were camera operators, film producers and an equipment rental outfit before they ever manu factured an ARRI camera. From the very beginning they worked directly with filmmakers and the insight they gained helped them to develop equipment that met real on - set needs. First and foremost they were film enthusiasts, driven by a love for visual storyt elling and technology. In today’s industry, with technology driven at breakneck speed by marketing hype, this philosophy of listening to what filmmakers want – rather than telling them – is more The Academy of Motion Picture Arts and Sciences has recogniz ed ARRI’s engineers and their contributions to the industry with 19 Scientific and Technical Awards. On the occasion of the anniversary year ARRI has spoken to about 200 filmmakers – film directors, cameramen, gaffer, historians, producers, technicians, in novators and inventors - from around the globe and asked them about their view on the film industry, t echnology , and art as well as their stories about this world - k nown manufacturer. We tell the story of ARRI, but not as one long essay: We offer a collection of short films; experiences and short ane c dotes : a kaleidoscope about the history of the company, the technical achievements, the involved people, about clients, using the equipment and services. They talk about how ARRI and how the inventions helped them telling their stories.

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Henri Matisse created an oeuvre that is unparalleled in its brilliance and originality. His colorfully luminescent paintings are a sweeping affirmation of joie - de - vivre, levity and sensitivity. Featuring well - researched texts and numerous illustrations, this volume offers fascinating insights into the life and artistic development of Henri Matisse Henri Matisse, one of the preeminent pioneers of modern art. When people think of Matisse’s art, they tend to remember above all the famous cut - o uts from the last years of his life. He created these at a time when he was already confined to his bed and traded his brush for scissors. In the new volume of the The Great Masters of Art series, Markus Müller knowledgeably and vividly describes how Matis se’s artistic oeuvre developed towards these color - intensive and near - abstract works. An illustrated biography, as well as archive finds the author was able to include thanks to his close connection to the artist’s estate, present Matisse as an artist whos e works are a feast of colors and forms.

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He is considered the innovator and pioneer of a new urban Expressionism in painting. The nearly 50 - year - old New Yorker Marcus Jansen, now living in Fort Myers, already commands high prices in the United States and is making his way into Europe’s gallery and museum world. This is a companion volume to the artist’s first major European touring exhibition in 2017 – 2018. Since Neo Rauch’s appearance no such powerful artistic expressiveness has blazed a trail between America and Europe as in the work of Marcus Jansen. With this monograph three of Germany’s leading art publicists — Manfred Schneckenburger, Gottfried Knapp, and Dieter Ronte — convincingly explain how and why Jansen’s post - apocalyptic scenarios so captivate the viewer. Central paintings as well as prev iously unpublished works on paper by this internationally celebrated artist with German and Jamaican roots are presented.

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Over the past 20 years the KiCo Collection has become one of the most important collections of contemporary art. Having started with Colour Painting, today it includes the entire spectrum of picture-related contemporary art, from panel paintings to installations. The catalogue shows central blocks of works from the collection, including masterpieces by Marcia Hafif, Maria Lassnig, Katharina Grosse, Wolfgang Tillmans and Olafur Eliasson. The KiCo Collection has been growing continuously since the 1990s. It originally directed its focus towards Colour Painting but later moved beyond the limitations set by the picture and also integrated expansive installations into the collection. The spectrum ranges from Eliasson’s light installations to Tillman’s photographic investigations which link visual found objects with a systematic media reflexion. It is precisely these forms of boundary crossing which make the KiCo Collection so topical. It shows impressively that the arts no longer allow us to confine them to the ghetto of individual genres, but that they draw their strength from interconnections and fusions of content and media.

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We use money every day in the form of banknotes, coins or credit on our bank account. We pay online on the internet, take out loans and save money on bank accounts. But what is money really? Where does it come from? Who controls the banks? What are the tasks of central bank and how does monetary policy work? The documentation of the new permanent exhibition at the Museum of Money of the Deutsche Bundesbank provides a fascinating insight into place whic h provides a unique educational experience. The lavish illustrations make the room installations as vivid as the numerous exhibits from over 2,500 years of monetary history. Original texts from the museum convey knowledge of economics and history and offer an introduction to the world of money.

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This volume illustrates the development of art in Central Europe from 1830 – 1860 – a period which begins in the age of Biedermeier but extends well beyond it. It shows by means of a selection of representative works how art at this time developed independently and was not restricted to the historical Biedermeier era. DESCRIPTION “Is that Biedermeier?”, we often ask of pictures which date from the same period but do not look typically Biedermeier. The publication concentrates on these works in particular by showi ng the wide range of painting in the years between 1830 – 1860 through portraits, landscapes and genre pictures. The main focus lies on Austrian painters like Ferdinand Georg Waldmüller, Rudolf von Alt and Friedrich von Amerling, together with artists from N orthern Italy, Hungary, Bohemia and Slovenia including Giuseppe Tominz, József Borsos, Bedřich Havránek and Francesco Hayez. There are also references to the changes in style in furniture production at that time, which also demonstrated a remarkable divers ity.

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Daniel Libeskind likes to re-define spaces and to disrupt thought patterns – and at the same time he cherishes a great love of music. Reason enough for the Alte Oper Frankfurt to invite the architect and town planner to think freely about the performance of music and concerts. The result is a concert project which will make the entire city echo with the sounds of music for an entire weekend. 24 hours, 18 locations in Frankfurt, 18 dimensions of human life – presented in 75 concerts. In line with the slogan “One Day in Life” the American architect Daniel Libeskind designed a large-scale project for the Alte Oper Frankfurt which ignores the rules of normal concert performances. It will permit an intensified experience of music and space in which sounds are transported to places that were hardly predestined to serve as venues: Indian raga in an operating theatre, Mozart’s Requiem in a tram depot and Handel’s Water Music in a swimming pool. The present volume documents the stations and impressions of an intensive concert weekend.

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In 1965/66 Georg Baselitz created the monumental series “The Heroes” and “New Types”, which he presented in wild colour and with defiant style. By turning his attention towards the tradition of representational painting his work formed a striking contrast to the trends towards abstraction and Expressionism prevailing during the 1960s, thereby embarking on his own unique path. In his sceptical basic attitude towards post-war Germany Baselitz (* 1938) emphasised in his works the ambivalent aspects of the present in which he lived. His “Heroes” appear correspondingly contradictory with their military fatigues in tatters, their failure as deeply engraved as their resignation. The contrast to the success story of Western Germany’s economic miracle could hardly be more sharply defined, but there is more at stake: with this group of works the artist reflected his own position in relation to society. It was the artist’s self-assertion and determination of identity that were at stake and that Baselitz formulated so forcefully.

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F.C. Gundlach, one of the most important German fashion photographers of the post-war period, has created a remarkable collection of photographs and multimedia art by famous contemporary artists. This publication provides the first opportunity to reconstruct the view of the medium of photography in juxtaposition with paintings and sculptures by these artists. “The medium of photography has the right to be thought provoking”: that was the extent of it according to Albert Oehlen’s view of the medium in 1986. This inspired the photographer and passionate collector F. C. Grundlach to make additional acquisitions by important artists, from Büttner to Förg and from Oehlen to Polke. Their anarchic will to express themselves, their wit and caustic criticism were shaped into works of art that span a variety of media. This publication uses numerous illustrations to provide an atmospheric insight into the spirit of the conditions under which they were produced and gives an overview of the fascinating breadth of the medium of photography. A Who’s Who of the “gods of contemporary art”: Georg Baselitz, Werner Büttner, Günther Förg, Richard Hamilton, Georg Herold, Hubert Kiecol, Martin Kippenberger, Jürgen Klauke, Meuser, Albert Oehlen, Sigmar Polke and Franz West.

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