Search results for ""Hirmer Verlag""

Survival is a common practice. We cannot do it alone; we need each other. We need tools and practices that help us to connect, to understand to build, to survive in this age of climate crisis, technological upheaval, existential pain. We need words and values and ideas that extend beyond the human space. We need to learn; and we need to unlearn. We need a Manual for Survival. Ways of surviving together in an experimental and solidarity-based manner this book wants to make other world designs accessible through and beyond artistic practice. The art in this book reflects on the nature, the planetary, transcendental questions of global connectivity as well as on community, a sense of playfulness, togetherness, shared experiences through culture. A high quality and richly illustrated book with innovative texts following the idea that we have to learn to live and think in contradictions without losing ourselves. Artists include: Panteha Abareshi, Yalda Afsah, Abbas Akhavan, Assemble, M

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Wild, free and ephemeral street art and graffiti are a worldwide phenomenon. From Brassaï, who led graffiti into mainstream art around 1960, via the Sprayer of Zurich in the 1970s to the first Banksy works in the UK Illegal tells a prehistory of street art and graffiti. Hardly any of the works of this short-lived genre still exist today. They were also often documented illegally and under adverse conditions. Illustrated here are key works and rarities that have never been shown. All were created illegally, i.e. without permission, directly for an audience on the street not for museum contexts. People say graffiti is ugly, irresponsible and childish. But that's only if it's done properly [Banksy]. Long-standing picture research has condensed a selection of works by some 100 artists from over a dozen countries and their references to pop music, avant-garde art and literature. We discuss why these artists in particular were significant trendsetters for street art and graffiti before

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Sensuous, bold and topical this volume with its varied illustrations presents the entire spectrum of Jewish ideas about sexuality. In doing so it examines widely-held and contradictory stereotypes, according to which Jewish tradition either supports sexuality or restricts it through stringent regulations. The popular series and dating shows 'Unorthodox', 'Shtisel' and 'Jewish Matchmaking' cater to a surprising desire for a peek into the intimate life of Jews. Whether their protagonists are ultra-Orthodox, secular or somewhere in between: Pop culture simplifies a topic that has been the subject of profound discourse within the Jewish world ever since the commandment to be fruitful and multiply. Rabbis and religious scholars, sex therapists, scientists and artists grapple with traditional ideas and contemporary challenges, and explore Jewish positions on sexuality in all its diversity. Artists include Judy Chicago, Nicole Eisenman, R. B. Kitaj, Roee Rosen, Gil Yefman, et al.

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Otto Piene: Paths to Paradise accompanies an extensive museum exhibition that features the visionary, intermedial works of Otto Piene (1928-2014). This catalogue presents new scholarship on the development of his imaginative approaches to interlace art, science, and nature and uncover strategies of coping in an increasingly uncertain world. In the spirit of Piene's transatlantic career, this richly illustrated catalogue features essays by emerging and established art historians and curators from the U.S. and Europe. Shedding light on the life-affirming vision Piene developed in the wake of World War II, these texts consider the ambition of his work in a range of media and contextstelevision, kinetic sculpture, drawing, painting, performancethat incorporates the ephemeral through its atmospheric effects and shared social experiences.

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Raw, unprettified and decried in conservative circles as “gutter art”: Käthe Kollwitz employed her art uncompromisingly as a political voice for the social and human misery of her time. Her focus always lay on the dignity of humankind. The volume provides a wide-ranging insight into the commitment and creative work of the artist, whose achievements are more topical than ever. The book covers the entire spectrum of Kollwitz’ creative work with the world-famous cycles of graphic works A Weavers’ Revolt and Peasants’ War, rare proofs and moving drawings and sculptures, thereby showing all facets of her masterful skills. The political dimension of Kollwitz’ art becomes tangible in a particularly impressive manner through her posters. The unbroken validity of her work is demonstrated in a juxtaposition with the interventions by the artist Mona Hatoum (b. 1952), which revolve around topics such as vulnerability, persecution and the experience of conflict.

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The Secessions artist groups at the dawn of modernism in a splendid new volume. At the end of the 19th century the term “Secession” stood for the artistic beginnings of modernism. Art was surging forward towards freedom. Avant-garde artists showed their new creative works in the exhibitions of the Secession. In doing so they introduced innovative art movements to the public and helped Impressionism and Symbolism, for example, to achieve a breakthrough in the German-speaking region. The new alliances of artists in the Secession meant the abandonment of traditional artists’ associations and old-fashioned structures, and a new artistic freedom. The most important Secessions in the German region arose in 1892 in Munich, in 1897 in Vienna and in 1899 in Berlin. They are associated to this day with the figures who helped to shape them: Franz von Stuck, Gustav Klimt and Max Liebermann. This volume illustrates their artistic diversity in over 200 works by some 80 artists of the Secessions in Vienna, Munich and Berlin as well as international guests including Hodler, Munch, Rodin, Segantini and Toorop.

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A classic of modernism – a new Feininger retrospective in the light of current knowledge Lyonel Feininger (1871–1956) was a painter, graphic artist and caricaturist. From 1919 he served as one of the original masters at the Bauhaus in Weimar and later in Dessau. In 1937 he emigrated to New York, where he worked until the end of his life. In addition to his famous Expressionist images of architecture, the publication presents all the facets of his oeuvre and stations of his life based on the latest research. With some 140 paintings, drawings, caricatures, watercolours, woodcuts, photographs and objects from all creative phases, the volume presents a comprehensive picture of Feininger’s work which is also examined for its topicality. Lines of development and subjects which characterised his work are discussed in detail by means of key works in contributions by international authors. In particular his early paintings are evaluated, alongside the latest research into the significance of photography in the creative work of the Bauhaus artist.

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Beautifully designed, the book reveals the stories behind the collection of Vassar College art museum. Making & Meaning features select works from the Frances Lehman Loeb Art Center of Vassar College, located in Poughkeepsie, New York. Through illustrated essays and entries, as well as poetry and a timeline, this book reveals the profound richness of a collection extending from antiquity to the present day. Showcasing a wide variety of artistic work and contributions, the volume explores paintings, prints, photographs, decorative arts, and sculptures from this stunning collection. Written by Vassar curators, faculty, community partners, students and art historians, the texts demonstrate how the art museum at Vassar originated in 1864 and now stands, like many American academic museums, at the forefront of the rapidly evolving museum field.

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The Olympiapark in Munich is one of the most famous projects of the landscape architect Günther Grzimek (1915–1996), yet his entire oeuvre has proved to be pioneering and timeless. He advocated for a new form of urban green space in Germany, a “demokratisches Grün” (democratic green space), while also campaigning for practice-oriented training in landscape architecture. Grzimek’s biography offers a wellspring of new discoveries. It traverses the history of modern Germany and encompasses his collaborations with famous architects, town planners, and designers – including Otl Aicher, who developed the basic outline of this volume together with Grzimek in the 1980s. Featuring plans, images, texts, and excerpts from Grzimek’s own writings, this comprehensive new book offers a vivid and in-depth encounter with this major innovator and illustrates the lively history of landscape architecture in Germany from the 1930s in Berlin to the 1990s in Munich.

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Santiago Calatrava’s (* 1951) encounter with the sculpture collection at the Glyptothek in Munich thirty years ago prompted him to create an extensive series of sculptures with the title Die Aegineten (The Aeginetans). This volume focuses attention for the first time on the sculptures and paintings of the famous architect and shows how he was influenced by Antiquity. Die Aegineten – 14 large-format sculptures made of wrought iron on a pedestal of aged oak – appear as modern, almost abstract variations on the ancient warriors of the temple of Aphaea. They are presented in an exceptional dialogue with the permanent sculpture collection of the Glyptothek and are complemented by a selection of 30 drawings, watercolours, studies and sculptures of different themes and series which show Calatrava’s interest in the human body and nature, which influences his architectural style.

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The artist Kubra Khademi (b. 1989) lives in Paris and focuses in her work on her life as a woman and a person with direct experience as a refugee. This makes it both political and highly topical. Multi-faceted themes pervade her art, including her function as mouthpiece and as an element in the fight for the fundamental rights of women, as well as artistic work in exile and in a Muslim society. In paintings and more recently with the use of photographic techniques and embroidery, Khademi presents tranquil nude female figures that – depending on the angle – can nonetheless be interpreted as provocative. They are juxtaposed with impressive performances that draw on the artist’s own physical experiences as a subject. Khademi focuses her attention on the male-dominated society in countries like her native Afghanistan and the socio-political situation there, linking together motifs from mythology, art history and politics. Kubra Khademi has received many awards for her work, and this overview publication presents her oeuvre in all its complexity.

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With the help of scholars, historians and artists, and through a range of diverse media, this book sets out to follow in the footsteps of Prophet Muhammad (*), retracing his movements during the famous Hijrah ‘migration’, from Makkah to the oasis town of Yathrib soon to become Madinat an-Nabi, the ‘’City of the Prophet”. Situating the Hijrah firmly within the geography in which it unfolded, the book uses the sacred landscape of the Hijrah as a receptacle for its stories, memories and the events that took place along the route, thus providing tangible links between us and this momentous journey as never before experienced. For over fourteen hundred years, al-Hijrah, the famous story of the Prophet Muhammad’s (*) ‘migration’ from Makkah to Madinah, has been told and retold by generations of Muslims throughout the world. This story, one of endurance overcoming adversity in pursuit of religious freedom to establish a nation united by bonds of brotherhood and faith, has continued to be an inspiration from which renewed meanings have been drawn. This book follows in the footsteps of the Prophet (*), retracing his movements during this crucial journey, and examining what occurred as he left his home in Makkah to the oasis town of Yathrib soon to become the “City of the Prophet”. However, unlike anything seen before, this book anchors the Hijrah firmly within the geography in which it unfolded. Acting as a receptacle for its stories, memories and the events that took place along the route, the sacred landscape of the Hijrah provides tangible links between us and this momentous journey as never before, bringing a greater appreciation of the Hijrah story.

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The photographs in Nicholas Pollack’s new book Meadow were made between 2015-2020 in and around Secaucus, New Jersey, U.S. Inspired by the landscape of the New Jersey Meadowlands, Meadow is a body of work about a small plot of land and the friendships and interactions between a group of truck drivers who forge a transcendent relationship with the place. Nicholas Pollack’s Meadow is tied to place – specifically, a place that is neglected by society. Meadow tells the story of a group of truck drivers who made a piece of overlooked salt marsh their own. Operating in the tradition of documentary style photography, Pollack shows both the social and the physical landscapes of America in Meadow. This book is Nicholas Pollack’s ode to a small portion of the sprawling New Jersey Meadowlands, to its people and its landscape, and to the humanity enveloped in a post-industrial landscape.

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Agnes Pelton: Desert Transcendentalist will be the first survey of this under recognized American painter in over 22 years. Her distinctive paintings could be described as metaphysical landscapes rooted in the California desert near Cathedral City. Pelton chiefly drew on her own inspirations, superstitions, and beliefs to exemplify emotional states. The publication seeks to clarify the artist’s significance and role within the cannon of American Modernism but also against the legacy of European abstraction. It contextualizes her work against her contemporaries, Marsden Hartley and Georgia O’Keeffe, and their distinct versions of American spiritual modernism. Pelton’s highly symbolic paintings were inspired by religious sources ranging from Theosophy and Agni Yoga to the spiritual teachings of Dane Rudhyar and Will Levington Comfort. Over three decades she devoted herself to painting spiritual abstractions, which conveyed her “light message to the world.”

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Drawing from the renowned collection of Latin American Art at the Denver Art Museum, this catalogue examines the processes of appropriation and invention in the arts of Spanish America from the 1520s to the 1820s. The catalogue highlights Latin American masterpieces, including paintings, sculptures, and decorative arts, made shortly after the conquest and before the independence movements. Arranged regionally, the essays explore how artists found freedom despite colonial authority. While pleasing clients, many artists of Indigenous and African descent also reclaimed and reshaped the arts for themselves and their new colonial realities. Epilogue essays will consider modern and contemporary trends.

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Seventy Five at Seventy Five is about the visual working life of US photographer Abe Frajndlich, starting from the 1970s to the present. The book covers his myriad themes and obsessions from portraiture of the famous, the anonymous, to the erotic, and the fantastic. A triumphant compilation of black and white and color photographs, many of which have become icons.

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Religious art from four continents and across cultures – seeing and smelling the sacred. Holy Smoke: Censers Across Cultures investigates the practice of incense – the use of material objects to communicate with the divine – in religious context as it has been used in cultures worldwide across historical periods, religions, and cultures. The fragrant smoke of incense filling the air can be witnessed in any tradition, whether polytheistic or monotheistic, whether in the Ancient Near East, or Medieval Europe. Censers are ubiquitous among religious paraphernalia, and on a truly global scale. Focusing on case studies not only places the censer in a constellation of other religious artefacts, but also relocates the importance of rituals that have long been placed at the margins of the study of religion, art and ritual. Emerging from this, we hope, is a better grasp of the role of sensorial elements in the fostering of the devotional practices of world religions.

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These photographs by David Katzenstein emerged from his lifelong artistic journey as a visual chronicler of humanity. His mission led him to travel to many parts of the world to experience other cultures and peoples firsthand, capturing images that relate to the themes he is drawn to. In the process, he came to be fascinated by rituals. The images were taken in twenty-six countries on six continents between 1982 and 2019 – a span of thirty-seven years. They document humans in the act of performing a wide array of rituals, both religious and secular. Rituals depicted herein include those of animism, Buddhism, Christianity, Hinduism, Islam, Judaism and Shintoism. Folk festivals, military assemblies, and parades are nonreligious rituals found in everyday life. Whether rituals are religious or secular, from his experience, they are all, in some sense, sacred to those who perform them.

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Latinx artist Tamara Kostianovsky began using her discarded clothes as artistic material shortly after immigrating to the United States, addressing cultural and physical displacement, assimilation and identity, and the brutal history of Latin America. Today, these emotionally charged materials coalesce in a post-colonial vision for an ecological future. Tamara Kostianovsky creates sculptures from textiles that address the relationship between landscapes, the body, and violence. This volume highlights distinct bodies of her work including sculptures of butchered carcasses, slayed birds, and severed trees. Built with layers of texture, colour, and emotion, these works dive head-first into the tension between beauty and horror, confronting histories of systemic violence and transforming them into utopian environments.

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Glass is a magical material through which light can shine. Throughout its millennial history, its colourful splendour and malleability have always exerted a particular fascination and a creative attraction. The book offers a profound and lavishly documented panorama of artistic glass design in Europe and the United States since the 1870s. Over many years Renate und Dietrich Götze have assembled one of the world’s most important collections of glass vessels, comprising some 500 exclusive objects. It reflects not only the collectors’ passion for this luminous material and its unlimited opportunities for inspiring the imagination, but also their tremendous expertise. The volume is a compendium of glass art with numerous artist biographies, a directory of the glass foundries, their techniques and symbols – and, above all: a feast for the eyes!

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Tomás Esson: The GOAT is the first monograph of Afro-Cuban artist Tomás Esson. It features paintings created over a span of thirty-five years and showcases a distinct style that overflows with energy, biting humor, and suggestive narratives that often involve highly sexualized, monstrous creatures alongside the heroes of the Cuban Revolution. Coming of age in turbulent Havana, Tomás Esson (b. 1963) was a fierce critic of the social reality he saw around him. His work was showcased in a number of controversial exhibitions in the late 1980s, as the artist became a central figure in the decade’s renaissance in Cuban art and he began to exhibit internationally. He left Cuba in 1990 and moved to the USA. Alongside his works this publication provides newly commissioned scholarship and reprints of critical texts that are no longer in circulation, proof that Esson is one of Cuba’s most important post-Revolutionary artists, whose work remains timely today.

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Dance is communication. From contemporary collaborations or the first happenings of the Japanese Butoh dancers and the pioneers of Modern dance, Global Groove explores the cultural history of contact between the West and the Far East. Global Groove is going back even to the early performances by Asian dancers in Europe around 1900. Photographs, paintings, sculptures, films and live actions reveal the role played by the language of dance in the political and cultural transformation of societies.

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Classical Modernism is an inexhaustible source of inspiration for the generations of artists that followed. This catalogue sheds new light on the relationship between modern and contemporary art across the generations and across the genres, through the encounter between the artists featured in two outstanding collections. In the early twentieth century the avant-garde prepared the way for a free treatment of colour, line and space and created new community models. Many contemporary artists have studied the legacy of modernism and pose new questions concerning the treatment of body, gender and identity. The new presentation of the modern art collection in the Pinakothek der Moderne shows these new ideas in cooperation with the Sammlung Goetz. Works of art from both collections as well as the Stiftung Ann und Jürgen Wilde enter into a new kind of dialogue. Artists: Francis Bacon, Max Beckmann, Huma Bhabha, Louise Bourgeois, Max Ernst, Peter Fischli and David Weiss, Rodney Graham, Florence Henri, Wassily Kandinsky, Ernst Ludwig Kirchner, Kathe Kollwitz, Jonathan Lasker, Sarah Lucas, Franz Marc, Henri Matisse, Paulina Olowska, Pablo Picasso, Thomas Schütte, Kiki Smith and Wolfgang Tillmans et. al.

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Sculpture is just a word, an English word, which elicits an image in the mind’s eye. Sculpture is a European idea. In China statues, stele and other figural objects were made for millennia but not valued or collected as Sculpture. There was no Sculpture in China. Imagining Sculpture is the story of this something that did not exist. Imagining Sculpture is a series of short vignettes, historical and fictional. Travelers, scholars, officials, collectors, and antiquarians encounter statues, figures, and effigies in China, Japan, England, Germany, France, Italy, and the United States from the fourteenth to the beginning of the twentieth century. Imagining Sculpture is visual, cinematic and sumptuous—told with rare photographs, paintings, sketches, letters and ephemera. With little text, the argument is made by the images. Imagining Sculpture offers a new kind of visual narrative and offers a radically different way of seeing and knowing.

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Plotting narratives that blur the line between fact and fiction, David Lamelas is a pioneering figure of conceptual art. "Life as Activity: David Lamelas" draws vivid connections within the artist’s multifaceted practice and explores how his sculpture, film, video, and photography invite us to participate in fictional narratives while moving through space and time. Life as Activity: David Lamelas developed from a graduate seminar in Hunter College’s Advanced Certificate in Curatorial Studies and is supported by the Institute for Studies on Latin American Art (ISLAA), which advances scholarship and public engagement with art from Latin America. ISLAA proudly sponsors Hunter College as its inaugural university partner in the ISLAA Artist Seminar Initiative, an education and curatorial program that fosters intimate exchanges between students and living Latin American and Latinx artists. David Lamelas's works experiment with conventional formats in ways that make us acutely aware of the constructed nature of narrative and identity. Featuring his investigations of different media – including sculpture, photography, and film – the book charts new ground through a body of work that spans from 1966 to 2020. Made in Argentina, Europe and the United States, the twelve projects that make up the focus of the book demonstrate the inventive ways Lamelas produces works in which he directs his critical eye toward diverse contexts to reveal the proximity of fantasy and truth.

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Harlem’s 125th Street is a marker of 20th century urban experience, a thoroughfare that encapsulates powerful stories of business and consumption, real estate and gentrification, glamour and entertainment, and political uprising. The book explores works and themes from a large roster of photographers and performance artists who have engaged with the constant mutation of this street-life. The photographs in this book represent narratives of resilience and poems of survival against a rapid and sweeping movement of history across 125th street, where buildings and communities are periodically destroyed and built anew. The works shape a sense of belonging and identity that goes against the stereotyping and mystification of this neighborhood. It contributes to the writing of a new history of photography that is collective and collaborative. Among the artists featured are Dawoud Bey, Khalik Allah, Kwame Brathwaite, Jamel Shabazz, Hiram Maristany, Ming Smith, Ruben Natal San Miguel, Isaac Diggs & Edward Hillel, Lorraine O’Grady, and William Pope.L. Artists include: Berenice Abbott, Khalik Allah, Alice Attie, Dawoud Bey, Kwame Brathwaite Isaac Diggs & Edward Hillel, Lola Flash, Hiram Maristany, Ozier Muhammad, Katsu Naito Marilyn Nance, Ruben Natal-San Miguel, Lorraine O’Grady, Gordon Parks, Pope.L, Jamel Shabazz, Coreen Simpson, Beuford Smith, Ming Smith, Morgan and Marvin Smith, Shawn Walker Hai Zhang.

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Americans in Paris: Artists Working in Postwar France, 1946–1962 delves into the various circles of artists who lived in France following World War II. Featuring new scholarship and illuminating essays, this groundbreaking volume illustrates many of the paintings, sculptures, drawings, prints, photos, and films produced during these fertile years. Americans in Paris introduces the story of the American creative community that inhabited the City of Light following World War II. Proposing Paris as decisive for the development of postwar American art, this volume investigates the academies where many of these artists studied, the spaces where their work was exhibited, the aesthetic discourses that animated their conversations, their interactions with European artists, and the overarching issue of what it meant to be an American abroad.

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How can you paint colour? That is the question which the Munich artist Isabelle Dyckerhoff asks herself anew before every picture. The material presence of colour, its expressive power and spatial effect are characteristic for her works on canvas and paper, which are presented together in this volume for book lovers.

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Caspar David Friedrich and Alexander Andreyevich Ivanov are the most important artists of the Romantic era in their native countries of Germany and Russia. At the centre of this opulent book are night scenes and moonlit landscapes, views of Dresden and Italy that are full of yearning, and portraits and lovingly depicted interiors by both master painters and their contemporaries. It represents an encounter between artworks from Germany and Russia. In them, the fundamental questions regarding the radical start of a new era in around 1800 becomes visible: the fight for political and artistic freedom, the search for national identity, the fragility of the concept of homeland and religion. The relationships between the two cultural nations and the journeys of the artists are examined, as are political aspects of art. The literature and music of the Romantic era and selected positions of contemporary art complement the diverse picture of contemporary art complement the diverse picture art. The literature and music of the Romantic era and selected positions of contemporary art complement the diverse picture. Artists: Ivan Konstantinovich Aivazovsky | Carl Blechen | Karl Pavlovich Bryullov | Carl Gustav Carus | Pavel Andreyevich Fedotov | Caspar David Friedrich | Alexander Andreyevich Ivanov | Orest Adamovich Kiprenski | Ernst Ferdinand Oehme | Theodor Rehbenitz | Ludwig Richter | Sylvester Feodosiyevich Shchedrin | Vasily Andreyevich Tropinin | Alexei Gavrilovich Venetsianov | Maxim Nikiforovich Vorobiev

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Kurt Schwitters (1887–1948) is one of the most influential protagonists of the avant-garde, both as an artist and an author. With his utopia of the “total Merz vision of the world” he aimed at the “unification of art and non-art”. The art of assemblage and material art reached its first high point in his work; his “Merzbau” is regarded as a forerunner of present-day installations.“Everything was in ruins in any case, and it was a matter of rebuilding something new from the fragments. But that is MERZ.” One hundred years ago, after the end of the First World War, Kurt Schwitters declared the syllable “Merz” to be a word mark for his one-man movement and thereby propagated his wide-ranging creative work in almost all areas of art, literature and typography. The expression stands for a concept of the greatest possible unreservedness and artistic freedom in the choice of forms of expression. In Schwitters’s compositions, apparently worthless things are resurrected and open up rich fields of association in new interactions. Merz art is abstract and characterised by the way it crosses borders within the media. For example, the “Merzbau” was created in Hannover between Dada and Constructivism,. This total work of art originally extended across a number of rooms and has been reconstructed in the Sprengel Museum inHannover. The publication provides an introduction to the Merz art of Kurt Schwitters and draws on the wealth of material to be found in the artist’s estate, which is the subject of recent research. Designed by the award-winning graphic artist Marion Blomeyer.

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At a time when extreme climatic phenomena, air quality, and industrial impact are among the most pressing issues on the public agenda, the dramatic change in the climate has led to the realization that capitalism has a destructive effect on the environment. Our lifestyle must be reevaluated in order to positively impact both present and future.The ongoing use of fossil fuels, the development of industrial zones in city centres, and even the growing use of air-conditioning units are leading to a significant rise in temperatures and to the acceleration of extreme climatic change. Nevertheless, most individuals do not yet connect their daily lives to the climate changes in their immediate surroundings, and even those who are aware of these changes do not necessarily choose a course of action. Global warming has been widely recognized by scientists as caused by humans. Efficient solutions to these concerns may be found on a local level, where the engagement of urban communities may prove to be effective in combating environmental damage. This publication addresses an approach involving multiple possibilities for climate-related actions, most notably in the context of individual cities. Six thematic chapters examine case studies from cities including Chicago, New York, Masdar, Hong Kong, Copenhagen, Shanghai, and Tel Aviv.

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The ensemble with its prominent twin towers that Egon Eiermann (1904–1970) built in Frankfurt am Main for the Italian office machinery company Olivetti, was the Karlsruhe architect’s last major project. His priorities lay in the slender form, derived from the task, the construction and the material to create a characteristic silhouette. Adriano Olivetti, the son of the company’s founder, valued not only the firm’s products, which became cult objects of Italianità in the field of design and which established the ‘Stile Olivetti’. He also made the same demands regarding quality in architecture. The grandson, Roberto Olivetti, commissioned Eiermann, a famous representative of German postwar Modernism, to design the German branch offices. For the architect the project formed the culmination of his career, while for the Karlsruhe student Klaus Kinold it marked the beginning of a career as a photo g-rapher of architecture. He maintained that he had learned more for his future profession from his teacher Egon Eiermann than from anyone else.

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“Art and technology: a new unity” – It was with this slogan that the Bauhaus moved to Dessau in 1925. The seven years in Dessau were most productive for the designers and architects at the Bauhaus. This illustrated volume presents the Bauhaus buildings in Dessau in words and pictures and offers new perspectives on these icons of modern architecture. Walter Gropius, Hannes Meyer, Ludwig Mies van der Rohe, Richard Paulick, Georg Muche, Carl Fieger and Karl Friedrich Engemann: the architects at the Bauhaus in Dessau realized their designs in the industrial city between the Elbe and the Mulde rivers during the years between 1925 and 1932 ̶ and thereby created a unique ensemble of modern architecture which attracts visitors from all over the world to Dessau to this day. Since 1996 some of the Bauhaus buildings in Dessau have been regarded as key works of European Modernism and are included in the list of UNESCO World Cultural Heritage Sites. They express the revolutionary aim of the historical Bauhaus to bring about fundamental change in society through design and architecture.

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Giambologna (1529 – 1606) is regarded as the most important European sculptor between Michelangelo and Bernini. How did he achieve this status? This volume investigates this question and examines above all Giambologna’s study of Michelangelo, his all-powerful role model, and how he successfully prevailed. The young Flemish artist Giambologna most probably embarked on his study trip to Rome in 1550. On his way home he visited Florence, decided to stay and became the star at the Medici court. They sent his sculptures to the princely courts of Europe, where they became sought-after gifts. Although we know a great deal about his success, we know little of his early years in Italy, because he first appeared on the scene as a sculptor from about 1560. The alabaster figures after Michelangelo’s “Times of Day” in Dresden, hitherto largely ignored, seem to be early works by the master sculptor. An examination of these sculptures promises to shed fresh light on the development of a genius.

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Monika Kopplin is leaving and going into retirement after almost thirty years as the Director of the Museum for Lacquer Art. She has contributed in no small measure to the international reputation of the institution. To mark the occasion, the special volume “Lacquer Friends of the World” presents 24 artists from 8 nations who have accompanied her over the years. Works by almost all the participating artists have already been shown in exhibitions in the Museum for Lacquer Art; works by others have been acquired for the museum collection over the years. The huge variety of contemporary lacquer art from Japan, China, Korea, Southeast Asia, Russia and Europe is reflected in this show and opens up a glimpse into the present and the possible future of this form of craftsmanship. In addition to works based on tradition it also presents design objects and experimental installations: innovative, modern, playful, clearly structured, classic!

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What a shock it must have been for the Utrecht painters Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen when they first encountered the breathtaking and unconventional paintings of Caravaggio in Rome. This volume shows impressively how the young artists individually explored this role model and thereby developed their own individual style. In around 1600 Rome was the centre of the world. Attracted by Caravaggio’s spectacular success, young artists from all over Europe converged on the bus tling metropolis. The up-and-coming painters studied the same works, discussed matters with each other and used Caravaggio’s style to develop their own individual pictorial language. Tracing the careers of the three most important Utrecht Caravaggists, the authors describe the atmosphere of this artistic mood of renewal. Only in a comparison with their European fellow artists does it become evident how strongly the Dutch tradition, with its love of merciless realism, influenced the creative work of the Utrecht painters.

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The sports cars of the 1950s to the 1970s are fast, beautiful, eccentric and innovative. In recent decades these automobiles not only became coveted collector’s items; they also enjoy cult statu s. In an exciting journey through time the volume presents 25 outstanding sports cars as design icons and illuminates their presentation in film and photography. As a design object beyond its practical purpose, the automobile has left an indelible mark on the world we live in. There is scarcely another everyday item which has been designed in a more sophisticated and inventive manner and which offers a larger projection area. This can be seen with particular clarity in the sports car. The volume pays homag e to a selection of exclusive sports cars by legendary manufacturers, from Porsche to Ferrari to Jaguar, as artworks in their own right and as a unity of form, technology, design and emotions. Essays, selected texts and biographies shed light on the multi - layered development of automobile design and introduce the vehicles and their designers .

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From the 1960s and 1970s onwards, different sculptors became involved with a mode of realism based on the physically lifelike ap pearance of the human body. By deploying traditional techniques of modelling, casting and painting in order to recreate human figures they follow different approaches towards a contemporary form of figural realism. The sculptures show how the way we see ou r bodies has been subject to constant change. The publication presents artworks of all important representatives of Hyperrealism. From the early pioneers like George Segal, Duane Hanson and John DeAndrea this comprehensive selection demonstrates how Hyperr ealistic sculptures continuously developed up to the current stars of the movement like Ron Mueck, Sam Jinks, Evan Penny, Tony Matelli and Patricia Piccinini.

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Qatari Style investigates the architectural identity of Qatar, which celebrates the warmth and hospitality of the Middle East. The selected interiors are pioneering examples of how new and foreign influences can be absorbed harmoniously into the local architecture and culture whilst retaining the traditional charm. Qatar, a small peninsula in the Arabian Gulf, was and is a central hub of many trading and migration routes. A unique and diverse architectural style has developed here that is rich in colours and opulent details. The “Qatari style” is famous for its successful fusion of the different influences and the preservation of traditional character whilst at the same time progressing into the modern age. Ibrahim Mohamed Jaidah, an internationally famous architect from Qatar, presents in this lavishly illustrated publication a selection of outstanding examples of Qatari interior architecture.

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Barbara Hammer (b. 1939) is an American feminist artist known as a pioneer of queer experimental and documentary film. In October 2017, Leslie Lohman Museum of Gay & Lesbian Art will present a comprehensive solo exhibition to celebrate the depth and expa nse of Hammer’s five decades of art making. Bringing together both known and previously unseen works of film and video, installations, works on paper, and material from her archive, the exhibition addresses critical themes that appear in Hammer’s work, inc luding: lesbian representation, subjectivity, and sexuality; intimacy and sensation; and conditions and maintenance of life and illness. This exhibition highlights the resonating impact of Hammer’s artistic narrative and material experimentation across dis ciplines within queer art history. Additionally, as part of this exhibition, we are putting together a publication that will touch on different aspects of Hammer’s body of wor k and practice. The material included will look at her work in relationship to experimental queer cinema; lesbian sexuality and lesbian feminist history; hapticity and wildness; viruses, medicine, and environment; to name a few. We desire for the book to f eature a wide range of responses, from academic analysis to poetic interpretation, sprinkled with personal and artistic anecdotes. More of a hybrid monograph and catalogue raisonne, we are very excited that this book will be the first of its kind that cele brates five decades of Hammer's work.

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How do we want to live? How shall we build? Where can we find ideas for the houses and cities of the future? Niklas Maak and Johanna Diehl focus their attention on these highly topical questions in their joint project “Eurotopians”. In times of change this volume casts its backward gaze on the work of European utopians in order to find visions for the present. During the 1960s and 1970s visionary architecture was created in Europe which raised fundamental questions about our current ideas of how we should live. Many of these buildings are in ruins and their architects forgotten – although they still live there. Maak visited them and created an “archaeology of the utopian”, which shows that important ideas for the world of tomorrow can be found in the ruins. Johanna Diehl has taken impressive photographs of great intensity. In the ruins of these utopias of the modern age she discovered pictures of revolutionary approaches to life which seem surprisingly topical.

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This lavishly illustrated volume, which comes in four different colours and with an open Japanese binding, looks from both sides of the Atlantic at 80 years of photography from Chicago. At the New Bauhaus and what later became the Institute of Design, teachers like László Moholy - Nagy, György Kepes and später Arthur Siegel, Harry Callahan and Aaron Siskind taught an uninhibited approach to the medium which influenced generations of photographers. To mark the start of the great Bauhaus anniversary in 2019, the Bauhaus Archiv / Museum für Gestaltung Berlin is presenting its collecti on of “New Bauhaus Photography” which is unique in Europe. It introduces the protagonists and institutions who since the foundation of the New Bauhaus in Chicago in 1937 have inspired, created and collected photography and then presented it to the public. The wide range of illustrations extends from abstract photograms and material experiments to conceptual and process - oriented works series. Contemporary works from Chicago complete the picture and reflect the importance of the Bauhaus thought process for th e present day.

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The 300th birthday of Empress Maria Theresia provides an opportunity to examine her outstanding interest in the fine arts. At the invitation of the reforming monarch a large number of painters, sculptors and other artists in Austria and abroad found a wealth of work opportunities. Correspondingly, this era has left its mark on the countries of the former Habsburg monarchy to this day. Maria Theresia pursued an individual approach with regard to cultural policy. She was interested in reform not only in education, but also in the field of art. She commissioned contemporary artists and helped portrait painting to a new upswing, leading not least to the international consolidation of the newly formed House of Habsburg-Lorraine. This was the function also fulfilled by the allegorical paintings and ceiling frescoes for which impressive cartoons have survived. Landscape painting was highly esteemed, and finally outstanding masterpieces were produced in sculpture and three-dimensional works, for example by Balthasar Ferdinand Moll and Franz Xaver Messerschmidt.

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Gerhard Richter (*1932) is an exceptional personality – not because his pictures are world famous, but because he has demonstrated a new approach to painting. His art masterfully moves between abstraction and representation, sensuousness and denial – ambiv alent attitudes which he demonstrated even in his early work. Gerhard Richter’s oeuvre overcomes the division between abstract and representational art. His pictures neither cultivate a modest interplay of colours and forms nor do they deliver an intact p icture of reality. Richter is a sceptical artist who questions the reality of his art even when the prime subject of his paintings is the tangible. This applies in particular to his door, curtain and window pictures of the 1960s, which form the central foc us of this volume. They stage a playful examination of the illusory nature of art, which always questions what painting shows or conceals. This lavishly appointed volume is published to mark the artist’s 85th birthday.

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The wall was his passion. If we look at urban walls with the eyes of Burhan Dogancay, a completely different world opens up: half - ripped posters on rough brickwork, covered in graffiti, scribblings, messages, signs, stickers. From this rich stock of struct ures, signs and symbols the artist created his wall fragments, his “Urban Walls”. Dogancay (1929 – 2013) was born in Istanbul and settled in New York in 1964, where he moved within the art scene around Robert Rauschenberg und Jasper Johns. His subject is the visual perception of texture, place and memory, which he researches in serial wor ks. For his “Urban Walls” he records house walls and façades all over the world in a variety of media, using a wide range of materials and techniques such as photography, collage and painting. His works are archives of past decades which capture the spirit of the times. From the 1970s and 1980s he progresses from these works to develop his “Ribbons” – calligraphic paintings of poetic charm.

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Rivera, Kahlo, Tamayo, Covarrubias, Weston, Modotti, Bravo, Spratling – names which are closely linked with the internationally celebrated art, photography and design scene of the 1920s and 1930s in the United States and Mexico. This lavishly illustrated publication traces the dynamic cultural exchange which left its mark on both sides of the border. At the beginning of the 20th century a lively and profitable exchange developed between artists in the United States and Mexico. The Americans were full of enthusiasm for the Mexican synthesis of history and modernity and their social commitment, which contrasted strongly with the consumer culture in the U.S. The Mexican artists in turn found important financiers across the border. The volume shows through paintings, drawings, photographs and graphical works from the Harry Ransom Center in Austin and other important museums how this intercultural network brought forth a large number of world-famous artists.

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Light is the original phenomenon which has been made visible in the works of Heinz Mack. The search for the possibilities for visualising light kept the multi - faceted oeuvre of this artist from the Zero circle ev er open to new ideas for half a century and provided inspiration with regard to both form and technique. There is nothing which makes people so aware of life as our existence in light. Heinz Mack (*1931) was addicted to light as if to a magic potion which inspired him to innovative experiments with highly varied experimental arrangements. His works break through the traditional genres of art and add unknown techniques and materials to the creative aspect. This book was compiled by the art ist himself from his entire creative oeuvre. It reveals the spectrum of natural and artificial light as it can only be experienced in the imagination of a mystic who commands confident control of the rational means of the modern age.

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