Search results for ""Scheidegger und Spiess AG, Verlag""

Upon his arrival in New York in the 1960s, Istanbul-born artist Burhan Doğançay (1929–2013) became deeply fascinated by the visual aesthetics of urban walls and murals. His interest focused on exploring public space and its significance as a forum for the debate of social and political as well as artistic norms. He continuously sketched and photographed walls and doorways, transferring many of the captured motifs into paintings. Over more than four decades, Doğançay compiled a vast body of photographic testimonials of urban life and discourse which he titled Walls of the World: a unique archive comprising some 30,000 images from 114 countries. This bilingual French–German book features a selection of Doğançay’s paintings and photographs from various series within the entire Walls of the World collection. The pictures — like the walls themselves — are the result of superimposed layers and techniques. Through this use of different painting and collage techniques, they reflect the temporal dimension of these surfaces with the scribbles, posters, scraps, and graffiti accumulated on them. The essays that supplement the images investigate Doğançay’s ongoing engagement with the urban wall as a projection surface as well as his method of combining photography and sketching as the basis for his remarkable graphic and painted art. Text in French and German.

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Charlotte Perriand (1903-1999) is undoubtedly one of the most significant figures in 20th-century interior design. Vintage pieces of her furniture designs fetch millions in auctions. Together with Le Corbusier and Pierre Jeanneret she created a number of classics, such as the chaise-longue LC4. From the 1930s, she sought not only to change design but to initiate social change; her main goal as a designer, was to develop affordable, functional, and appealing furniture for the masses. Perriand's life and work has been widely acknowledged, but thus far there has never been a comprehensive monograph covering all aspects of her work. Charlotte Perriand: Complete Works Volume 1 is a valuable resource on this key figure of 20th-century interior design. Each of the three lavishly illustrated volumes is completed by annotations, index, and bibliography. The initial volume looks at the years of collaboration with Le Corbusier and her role as a precursor in the use of tubular steel in interior design. It also documents her work in photography and her special interest in pre-fabricated residential architecture.

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Giovanni Segantini (1858-1899) is revered as one of the most eminent exponents of symbolism and an inventive painter of alpine motifs of the fin de siecle. More recently, he has also been acknowledged as a leading early modernist. Exhibitions of his work regularly attract vast audiences. Yet a number of Segantini's key works have not been on public display for many years and none of the recent books on him really covers the entirety of his oeuvre. This new monograph fills this gap. An introductory essay on Segantini's life and work also investigates the reception of his work over more than a century and looks at his role as paragon, for example for the Futurists or for Joseph Beuys. The core of the book form sixty paintings from all stages of Segantini's career in full-page plates, with descriptive texts and comments illustrated with details and additional images. The easy-to-read texts offer latest findings on aspects such as topography, iconography, the importance of light, on the modern style of divisionism in Segantini's later work and, on his biography.

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The book’s title — Taking Measures — has a double meaning: as a reference to the practices of measurement and to the political potential of power and resistance. Throughout their history to today, film and video have served as measuring devices for scientific, economic, political, and other purposes, and have been employed in a variety of fields beyond art. In acknowledging these uses also lies the opportunity for art to test its own effectiveness in public space and to uncover potential for resistance in artistic action. This book — which has evolved from a series of dialogues between artists and researchers as part of the research project Exhibiting Film: Challenges of Format at the University of Zurich — addresses issues of measures and formats in both content and design. In which practices of measurement, of the production of knowledge and evidence in the interest of useful research, are film and video involved? In what way can artistic practice not only make these involvements visible but challenge and test them? How can technologies of measurement in art be used politically and be made operative for the public sector? How can formats themselves, as the measures of art, be exhibited? How can they be put in relation to exhibition spaces and their economies of valorisation, and how can this relationship be assessed? These questions are explored in illuminating and richly illustrated essays.

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Max Bill (1908–1994), a key figure of modernism in his native Switzerland and internationally, was a true renaissance man. Equally accomplished as a painter, sculptor, graphic and product designer, and architect, he was also an eminent theorist and educator, curator, and prolific publicist. Moreover, he engaged in Swiss politics and was an activist both in Switzerland and abroad. Throughout his career he connected with fellow artists and other leading figures of modernism, maintaining a lifelong and worldwide artistic and political dialogue. This book, published in conjunction with a major exhibition at Zentrum Paul Klee in Bern, Switzerland, takes a fresh look both at Bill’s remarkable achievements across his diverse fields of creative activity and at his international network, highlighting his contribution to art and society as a whole. Max Bill Global features some 120 of Bill’s own works in all disciplines and a selection of his designed products that went into industrial production, as well as work by some of his artist friends. Published alongside are topical essays investigating Bill’s interaction and networking with fellow artists in Dessau, Paris, Zurich, São Paulo, Buenos Aires, and New York.

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Latifa Echakhch studied at the art academies of Grenoble, Paris-Cergy, and Lyon. Now based in Switzerland, Eckakhch is concerned with the concept of culture as well as personal and collective memory in between the poles of social and political debate. Her work often features installations that make use of a wide variety of materials, such as brick and raw earth, which she mixes with ink. This book is part of the new On Words series that presents conversations with contemporary women artists. Through them, readers come to understand the sources from which they draw inspiration, the themes in their work, and their view of the world. Edited by Julie Enckell, Federica Martini, and Sarah Burkhalter and bringing together a wide range of viewpoints, the On Words series adds a new narrative to polyphonic art history as told by those who actively shape it. Text in English and French.

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Le Corbusier and Sardinian-born sculptor Costatino Nivola met in 1946 in New York. The Franco-Swiss architect had been living there in exile since 1939 and was working with a team around Oscar Niemeyer on the project for the United Nations headquarters. Their meeting marked the beginning of a life-long friendship between the two, with Le Corbusier sharing Nivola's Greenwich Village studio while working on the United Nations project and, in 1950, creating two murals in the kitchen of Nivola s East Hampton home. The artist put together a collection of some 300 drawings, six paintings, and six sculptures by his architect friend which today are held in various places across Europe and America. This book tells the story of the collection and explores its significance, thus contributing to the understanding of the evolution of Le Corbusier's visual art and its impact on the reception of his work in America. Text in Italian.

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The opening of celebrated British architect David Chipperfield's extension building of Kunsthaus Zürich in the fall of 2021 will make this renowned institution Switzerland's largest art museum. In the run-up to this milestone in the museum's development, this new book looks back at its architectural history. It tells a lively story that starts in 1847 with the Zurich Artists' Society's initial gallery building and had its first culmination in 1910, when distinguished Swiss architect Karl Moser's Kunsthaus was opened. Over the past century, three major additions were carried out in 1925, 1959, and 1976, and many attempts for a visionary large-scale extension were made. Illustrated with historic images, reproductions of plans and drawings as well as newly drawn floor and site plans, the book documents all stages of constructing Kunsthaus Zürich. Text in French.

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Since 2005, the Musée de l'Elysée in Lausanne, Switzerland, has staged an exhibition every five years to review tendencies and to look at perspectives in contemporary photography. reGeneration 4, the exhibition's 2020 edition (from 27 May to 6 September 2020), and the new book accompanying it again features works by emerging international photographic artists. The curators-editors have also asked the participants of the previous editions of 2005, 2010, and 2015 for a statement about their individual artistic evolution. Environmentalism, social equality and inclusion, digitalisation, and securing their own livelihood appear to be their key topics and practical challenges. The book presents these insights alongside depictions of the works by 35 artists selected for reGeneration 4. Brief texts as well as an introductory essay round out this volume. Text in English and French.

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Henri Matisse (1869-1954) is adored worldwide as a revolutionary painter and loved for his collages, or papiers découpés, the icons of his late work. His paintings and drawings for a long time overshadowed his achievements as a sculptor. Yet his Back Series, four bas-reliefs showing a nude, created between 1908 and 1930, are widely recognised as a milestone in modern sculpture. Starting out from the naturalistic depiction, Matisse gradually transformed it to reach a radically abstracted figure. Each of the four original plaster casts represents a decisive moment of this artistic process. This transformative process has parallels in Matisse's painting and drawing. Published in conjunction with a major exhibition at Kunsthaus Zürich marking the artist's 150th anniversary, this is the first book to explore the relation between metamorphosis and feedback in both main fields of the artist's work. Documents of his diverse sources of inspiration for his sculptures - photographs of nudes, examples from African and ancient art - as well as images featuring Matisse at work as sculptor, round out this volume. It is a welcome addition to any art library, highlighting the lesser known side of this modern master.

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This book offers a discovery: for the first time a comprehensive monograph explores the entire oeuvre of photographic artist Jan Groover (1943-2012), whose personal collection in 2017 was transferred to Musée de l'Elysée in Lausanne. Published to coincide with an exhibition at Musée de l'Elysée in autumn 2019 and generously illustrated, Jan Groover, Photographer: Laboratory of Forms traces the artist's career from the beginnings in America to her late years in western France. Having started her career as a painter, when she turned to photography in the 1970s she developed a distinct artistic attitude that saw her amalgamate the disciplines of photography and painting. She was especially known for her carefully composed photographic still-lifes. Essays on her life and work, her significance as an artist, alongside a very personal contribution by her husband, French artist and critic Bruce Boice, complement the images.

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Born in New York in 1941, Joel Shapiro is one of the most significant artists of his generation. Since the first public showing of his work in 1969 as part of the landmark Anti-Illusion: Procedures/Materials exhibiton at the Whitney Museum of American Art, he has been the subject of numerous solo exhibitions in galleries and museums around the world. Most renowned for having developed in the 1980s and '90s a distinctive language of dynamic sculpture that blurs the lines between abstraction and figuration, Shapiro became known through his earliest 1970s New York shows for introducing common forms of often diminutive size. Since then he has continued to push the material and conceptual boundaries of sculpture by working in a number of materials and employing various working methods. Joel Shapiro: Sculpture and Works on Paper 1969-2019 is the first book in over twenty years to survey the artist's entire working career. In an extensive essay, art historian Richard Shiff provides a fresh and incisive examination of Shapiro's oeuvre and working process. With more than two hundred striking full-colour illustrations, this is a long-anticipated and much-needed survey of this vital and essential American artist.

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Born in New York in 1941, Joel Shapiro is one of the most significant artists of his generation. Since the first public showing of his work in 1969 as part of the landmark Anti-Illusion: Procedures/Materials exhibiton at the Whitney Museum of American Art, he has been the subject of numerous solo exhibitions in galleries and museums around the world. Most renowned for having developed in the 1980s and '90s a distinctive language of dynamic sculpture that blurs the lines between abstraction and figuration, Shapiro became known through his earliest 1970s New York shows for introducing common forms of often diminutive size. Since then he has continued to push the material and conceptual boundaries of sculpture by working in a number of materials and employing various working methods. Joel Shapiro: Sculpture and Works on Paper 1969-2019 is the first book in over twenty years to survey the artist's entire working career. In an extensive essay, art historian Richard Shiff provides a fresh and incisive examination of Shapiro's oeuvre and working process. With more than two hundred striking full-colour illustrations, this is a long-anticipated and much-needed survey of this vital and essential American artist.

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Lee Mullican (1919-98) was best known for his inimitable West Coast-inspired explorations in abstraction, infused with mysticism and the transcendent. First exhibited as part of the pivotal exhibition of the Dynaton Group, which Mullican co-founded with fellow artists Gordon Onslow Ford and Wolfgang Paalen, his works are today widely collected and held in the permanent collections of the San Francisco Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, and Metropolitan Museum of Art, among many others. The first book in more than a decade to focus on this important figure in twentieth-century American art, Cosmic Theatre: The Art of Lee Mullican surveys a key theme running through the artist's career, framing his unusual hybridisation of symbolic figuration, abstracted landscapes, and abstract space with his long-time fascination with the sky and the galaxy beyond. The book explores the development of the Mullican's work in the context of his time and his biography, looking also at the implications of Jungian philosophy in relation to his admiration of pre-Columbian and Native American cultures. Michael Auping's essay is complemented by fifty full-colour illustrations, featuring major rare paintings and drawings by Mullican from the 1940s to the 1970s.

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rom her early depictions of individual objects to her later works featuring complex interiors, American artist Lynn Shaler's works are distinctive, characterised by a colourful aquatint technique combined with carefully etched lines. Over a forty-year career, she has created more than two hundred aquatint etchings and has been included in major museum collections, including the Metropolitan Museum of Art, the Library of Congress, and the Victoria and Albert Museum in London. Lynn Shaler: Fine Prints, 1972-2017 is the first catalogue to spotlight this important American artist's entire body of work. Many of the etchings have been inspired by locations in Paris, where Shaler has lived for three decades. The book reproduces nearly all of her works, alongside accompanying essays which examine recurring themes and motifs in Shaler's work, such as architectural details or intimate interior views opening onto an exterior scene.

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Where is the wind when it is not blowing? In the new book The Wind Tunnel Model, artist-scientist Florian Dombois and his fellow researchers propose new forms of interaction between various artistic disciplines as well as between arts and sciences. Rather than defining a problem or a topic, around which people from the involved disciplines group, Dombois has established a wind tunnel laboratory with an empty test platform at Zurich University of the Arts. It is an architecture that turns its back on us and forms something invisible, a disturbingly concrete secondary model. The book features essays by Dombois and his collaborators at the laboratory. They reflect not only on this idea for a new transdisciplinary collaboration. They also pledge for an exchange between verbal and non-verbal thinking modelled on the man engine, a mechanism of reciprocating ladders and stationary platforms installed in mines to assist the miners' journeys to and from the working levels. For Dombois, the device is the key metaphor for his team and their work at the artistic wind tunnel.

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Wilhelm Deffke (1887-1950), established the first modern advertising agency in Germany in 1915. Together with his business partner he published an influential book on trademarks and makers' marks, in which they promoted the logo as a basis for all the company's advertising materials. Before his death in 1950, Deffke created more than 10,000 logos that were untypically functional and abstract for their time. Considered one of the pioneers of modern corporate design, he is known as the "Father of the Modern Logo" among design professionals internationally; yet only a fraction of his designs have ever been shown in public. This richly illustrated and comprehensive monograph is the first book to be published about his work as commercial artist, architect, poster and book designer. Fourteen essays present the wide-ranging aspects of Deffke's work in context with 20th-century European design history. More than 500 images, many of them previously unpublished, illustrate his achievements in poster and commercial art. This collection is a long overdue commentary and re-discovery, of an exceptional artistic personality.

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Nives Widauer: Villa Nix features a retrospective of Nives Widauer's oeuvre of three decades. The book documents the the Vienna-based Swiss artist's two-part exhibition at Centre Culturel Suisse in Paris and at Kunstmuseum Olten in summer and autumn 2020. The Paris show, titled Antichambre, was a prelude and subsequently integrated entirely into the larger presentation Villa Nix at Kunstmuseum Olten, the latter's architecture allowing the actual experience of seven different rooms at Widauer's imaginary house. As the title suggests, Widauer created for her art a home that is accessible for visitors, who can delve into and explore her imaginary mental spaces and her physical installations and works. Both the villa's and the artist's names are variations of the latin term for snow. The rooms at Villa Nix are intimate, historic and dense spaces in which she arranges a closely selected constellation of her work, thus creating resonating environments as an antichambre, an archive, a garden, or the unknown room. They work as mnemonic spaces and are at the same time rich in historic and cultural connotations while structuring the book like chapters. Introductory texts and conversations reflect the character of these spaces and the artworks they house. Text in English and German.

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The most recent work of renowned Austrian sculptor and photographer Werner Feiersinger is an artistic intervention at the Belvedere 21, Austria's national museum for contemporary art, located in the former Austrian Pavilion for the 1958 Brussels World's Fair that had been transferred to Vienna in 1962. For this extensive sculptural work, Feiersinger took cues from the building's history and architectural details. As is characteristic of his work, the Belvedere 21 intervention combined the artist's deep and broad knowledge of design and architectural history with a laconic, minimalist formal vocabulary. Werner Feiersinger. Overturn documents this ambitious project with drawings and photographs, essays, and an insightful interview with the artist. Together, they shed light on the ways in which the Belvedere 21 intervention reimagines the Pavilion as an autonomous object that nonetheless speaks to fundamental questions about sculpture. In doing so, it undermines conventional ways of seeing. Text in English and German.

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For more than twelve years, Zurich-based artist Felix Studinka has been observing a chestnut tree near his home and capturing his impressions almost daily in small-format charcoal drawings. Studinka's 'Chestnut Journal' represents an artist's study of our relationship to the world and offers insight into his distinct way of seeing and his approach to reality and to his environment. Published here for the first time is a selection of two hundred of Studinka's particularly expressive drawings from his 'Chestnut Journal'. Alongside the beautifully rendered drawings, the book offers essays by art historian Erich Franz, exploring Studinka's distinct creative process, and literature scholar Marco Baschera, who looks at the artist and his work from a philosophical perspective.

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Since 1997, artist Claude Sandoz has been sharing his time between his native Switzerland and the Caribbean island of St Lucia. Each time he returns from the Antilles, he brings back chests of sketches and drawings produced during his stay. The island topic provides an assortative focal point for his exuberant work. Sandoz is no longer a tourist, he has 'gone native' at his second home and developed a much more complex relationship with St Lucia than a mere seasonal artist's residence would allow. This moment in Sandoz's art that ethnologists describe as going native is the focus of this new monograph: when own and alien match, overlay with and possibly enrich each other. The book features a vast selection of Sandoz's works, complemented by topical essays and a conversation with the artists. Interspersed poems by Caribbean writers round out the book. Text in English and German.

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Sonja Sekula (1918-63) was born and educated in Lucerne, Switzerland, but emigrated to the United States with her parents in 1936. In 1941, she began studying art at the Arts Students League in New York and made the acquaintance of Andre Breton and his friends among the surrealists. Her automatic paintings and texts soon captured the interest of Peggy Guggenheim and Marcel Duchamp. In 1943, she was invited for the first time to show her work at Guggenheim's Art of This Century Gallery, and, throughout the late 1940s, she was also featured in solo and group exhibitions at Betty Parsons Gallery. However, mental health problems dogged her throughout her life, and she returned to Switzerland for treatment in 1955, where she committed suicide in 1963. This book provides a comprehensive overview of Sekula's art in context of the work of her friends and fellow artists from the period. Richly illustrated, it offers a chance to rediscover an immensely talented artist who has been unjustly neglected.

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Aerial photography had a special place in the business of the legendary former Swiss airline Swissair. Walter Mittelholzer (1894- 1937), aviation pioneer and one of Swissair's founders, trained as a photographer before turning to aviation. The airline had a specialised subsidiary, Swissair Photo AG, producing well over 100,000 pictures between 1931-2001, when Swissair ceased operations, and still exists as an independent enterprise, BSF Swissphoto. The photographs show landscapes, towns and villages, and mountains, but also industrial plants, infrastructures, and individual buildings in Switzerland and abroad. Swissair - Aerial Photography features around 300 striking, beautiful and informative images, revealing changes in landscape and settlements over nearly a century. It is also an inventory of lost elements making a landscape, untamed rivers, orchards, receding glaciers or vanished historical buildings that shows how an idyllic agricultural country turned into one of the most densely inhabited places over a few decades. With an introductory essay that explores the content of the collection now held at ETH Bibliothek and what can be read from these images today, Swissair - Aerial Photography provides an illuminating look at the history of aerial photography in Switzerland.

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Architecture has always been a magnificent and much debated platform to express the spirit of the times, world views, everyday life, and aesthetics. It is a daring materialisation of private and public visions, of applied art and the avant-garde alike. Concrete: Photography and Architecture presents images of iconic urban architectures and townscapes that reflect the close and complex union between photography and architecture, between architect and photographer. Starting from the 19th century, when photography was invented, the book picks up positions, juxtapositions, and thematic fields that bring together the concrete, fundamental, and the historic. Besides everyday architecture and glamorous buildings, it looks also at structural horizontal and vertical axes; houses and homes; utopias, plans and reality; the captivating transience of architecture against the test of time; and destruction both natural and intentional. Text in English & German.

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Ferdinand Hodler (1853-1918), as a painter equally significant and controversial, brought Swiss art to international recognition in the early 20th century. His impressive landscapes and portraits, monumental paintings of historic scenes and symbolistic and allegorical figures were exhibited all over Europe and acquired by museums and private collectors alike. Hodler''s work was discussed, praised, and criticised in contemporary publications.The new third volume of the catalogue raisonné of Hodler''s painted work is dedicated to his non-portrayal figure paintings. With around 630 works, this key section of Hodler''s oeuvre is almost as prolific as his landscapes. It comprises religious and patriotic genre paintings, symbolist figures such as The Night from 1890, and vast canvasses and murals with historic scenes.As in the earlier volumes on Hodler''s landscapes and portraits, the new book features an introductory essay, followed by the actual catalogue section listing the works i

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Ferdinand Hodler (1853-1918) is arguably the foremost Swiss artist of the late 19th and early 20th centuries. Ignoring artistic conventions of his time he created a vast oeuvre of impressive landscapes and portraits, monumental paintings of historic scenes and symbolic and allegorical figures, and also of drawings and sketches. Hodler gained some recognition outside Switzerland already at his time, but a number of recent international publications and exhibitions as well as raising prices for his works in auctions indicate that Hodler has definitely become an important and renowned figure in art history. Although Hodler's work has been widely published in recent years, a catalogue raisonne of his work has been lacking. This gap is being closed now by the Swiss Institute for Art Reasearch in Zurich. The result of years of scholarly work is going to be published in four parts until 2015. Volume 2 ("Portraits") is scheduled for 2010, volume 3 ("Figures, 2 Tomes") for 2013, and volume 4 ("Biography and Documents") for 2014.

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Aldo Mozzini. Casematte is the first major book on the work of Swiss artist Aldo Mozzini. It features his energetic art through more than 200 illustrations along with texts by distinguished Swiss curators. A conversation with the artist rounds off the volume, which highlights Mozzini's contribution to the contemporary art scene in Switzerland.Born in Locarno in 1956, Aldo Mozzini has lived and worked in Zurich since the 1980s. Galleries and museums in Switzerland, Italy, and France have shown his works in solo and group exhibitions, and he has won the Swiss Art Award twice, in 2012 and 2019. His oeuvre comprises drawing, painting, objects, photography, sculpture, and installation, moving restlessly from one form of expression to another.The book reviews 40 years of Mozzini's career and explores various aspects of his humorous and poetic art. The impressive body of his paintings and graphic works is closely linked to the sculptures and installations that remain Aldo Moz

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Etienne Delessert, born in Lausanne in 1941 and based in Lakeville, Connecticut, made his name as a graphic designer and illustrator in Paris and New York with advertising campaigns and posters, and later gained wide renown for his illustrations, animated films, and paintings. He has illustrated more than 80 books, all of which have become worldwide successes. Eleonore Peduzzi Riva, born in Basel in 1936, worked as a designer and design consultant for major brands such as Cassina, Artemide, and De Sede. The DS-600 modular sofa of 1972, created in collaboration with Ueli Berger, Heinz Ulrich, and Klaus Vogt, is an expression of her goal to enable people to design their personal habitat. Chantal Prod’Hom, also born in Lausanne in 1957, founded the Asher Edelman Foundation in the 1990s, where she staged visionary exhibitions featuring little-known artists, and travelled the world in search of design talent for Benetton’s famous Fabrica. Between 2000 and 2022, she directed her native city’s Musée cantonal de design et d’arts appliqués contemporains (mudac). Through her tireless commitment, she shapes and fosters public perception of design. Switzerland’s Federal Office of Culture has awarded the 2023 Swiss Grand Award for Design to Etienne Delessert, Eleonore Peduzzi Riva, and Chantal Prod’Hom. This book introduces each of them through a concise text and an interview, as well as a brief biography, illustrated with images from their archives. Text in English, French, German, and Italian.

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Markus Raetz (1941–2020) is widely recognised as one of Switzerland’s most significant contemporary artists. His multifaceted oeuvre includes some 1,500 sculptures, installations, and objects. They are works that make us playfully aware of how strongly our perception of the world depends on the point of view we take. This bilingual French–German book, published in conjunction with a major Markus Raetz retrospective at the Kunstmuseum Bern in summer 2023, focuses on the artist’s objects and mobiles, most of which have only so far been sporadically on public display. Essays by curator Stephan Kunz and French art historian and curator Didier Semin explore this part of Raetz’s work and place it within the overall context of his art. These are complemented by images newly taken by Swiss photographer Alexander Jaquemet in Raetz’s preserved studio, thus providing a direct insight into the artist’s former working environment. Text in French and German.

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From the outset of her career, Swiss artist Ladina Gaudenz, born in 1962, has been dealing with the close yet fragile relationships between mankind and nature, the environment, and technology. She explores facets and states of these relationships via convincing creative means, resulting in sensual, densely atmospheric paintings, while the boundaries between individual memory, references to tradition, and social commitment remain fluid. This bilingual French–German book is the first comprehensive survey of Ladina Gaudenz’s work of more than three decades. While painting is at its core, she has also created drawings, murals, and installations. Five essays by Françoise Jaunin, writer and art critic, Rainer Michael Mason, scholar of art history, Seraina Peer, art historian and researcher, Karine Tissot, art historian and educator, and the book’s editor Beat Stutzer discuss the evolution of Gaudenz’s artistic themes, the techniques she employs, her public displays, and the reception of her oeuvre as a whole, placing it in the context of contemporary Swiss art. Text in French and German.

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Swiss surrealist artist HR Giger (19402014) achieved international fame in 1979 for designing the fantastic creatures and eerie environments that terrified moviegoers in Ridley Scott's science fiction film Alien. Yet before these iconic creations made him a celebrity and won him an Oscar for visual effects, Giger was already highly regarded in the international art world for his unique freehand painting style and biomechanical dreamscapes.HR Giger: The Oeuvre Before Alien 19611976, first published in 2007 and now becoming available again in a new edition, is the only book to date to document the artist's lesser known, but no less impressive, early work. This lavishly illustrated volume traces Giger's career from his education as an architect and industrial designer at the Zurich College of Art to the development of his ink drawing and oil painting technique and his eventual breakthrough as one of the foremost artists of the fantastic realism school. Featurin

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Path of Gold traces the significance and use of gold as an art historical phenomenon, from early cultures to the present day. In periods of fundamental shifts in value and spiritual reorientation, gold appears consistently as a meaningful element: the ultimate precious metal always symbolised temporal as well as spiritual values. In painting, gold always indicates a change, liberation, and transmutation. Gold as a colour and means of artistic expression of utmost importance also links Swiss artists Heinrich Eichmann (1915-1970) and Barbara Diethelm, born in 1962. Eichmann created numerous plates and murals in different architectural contexts, of which the best-known are his “Gold Paintings.” In her work, Diethelm, who also works as a colour researcher, pursues the creative forces of nature and developed a new gold-coloured substance. Her paintings refer to concrete places where layers of human cultural development overlap and come to the fore. In this book, published in conjunction with an exhibition at Helmhaus Zurich in spring 2022, full colour reproductions of Eichmann’s and Diethelm’s works are supplemented with texts by artist Barbara Diethelm, art historian Guido Magnaguagno, curator Daniel Morgenthaler, and the South African author and conservationist Linda Tucker. Text in English and German.

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Under the label Atelier Zanolli, a fantastic world of silk fabrics that were painted and imprinted with patterns, opulently embroidered cushions, colourful pearl creations, as well as finely crafted leather and wood articles, was created between 1905 and 1939 in Zurich. The Zanollis had immigrated from Italy in 1905. Their family business was entirely women-run by mother Antonietta and her daughters Pia, Lea, and Zoe Zanolli. The cultural and stylistic influences manifested in the Zanollis’ visually appealing product world range from the avant-garde to a typically Swiss aesthetic forged by a national spirit of defence against the increasingly felt threat that Nazi Germany posed to the country in the 1930s. Driven by a striving for artistic self-realisation, the atelier defied the many economic challenges of the period and carried out many commissions for Zurich’s leading textile businesses and department stores. This book traces the history of Atelier Zanolli, places its work in the context of the development of Zurich and the Swiss textile industry in the first half of the 20th century, and for the first time also positions the “Zanolli style” internationally. More than 600 images show the wealth of colours and shapes of the cosmos of textiles and crafted objects, as well as templates, sketches, private photographs, business cards, and letters. The essays illuminate the techniques and work processes used, discuss entire motif families and unique designs, and grant a rare comprehensive insight into the tastes of the time.

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Transformation processes are the focus of Georg Aerni’s new photographs. The Swiss photographer and artist shows plastic greenhouses that have annexed whole swathes of land for agricultural mass production, residential houses that have been built overnight on the city outskirts without construction machines and literally noiselessly. He points his lens at olive trees that have grown over centuries into figures full of character, at creepers that conquer leftover spaces between high-rises and motorways, and at mighty rock faces that are being gnawed by erosion. With the merging of art and documentation that is typical of Aerni’s work, Georg Aerni—Silent Transition makes the signs of change the object of a contemplative observation and at the same time asks challenging questions: about our handling of natural resources, about the social backgrounds to cities growing out of control, about the regenerative force of nature. A decade after Aerni’s first monograph, Sites & Signs, this new book showcases the artist’s ongoing continuation of his photographic work through numerous individual images as well as new series. 166 beautiful colour and black-and-white plates are introduced through texts by Peter Pfrunder and Nadine Olonetzky and commented on with an essay by Sabine von Fischer. Text in English and German.

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The short intermezzo between the Great War and World War II and especially the “roaring twenties” with their a thrill of speed were a period of radical social change and artistic development, and of vibrant metropolitan life and. Born into a merchant family in the Swiss mountain canton of Glarus, Lill Tschudi (1911–2004) moved to London in 1929 to educate herself at the Grosvenor School of Modern Art. She flourished in the imperial capital and soon gained wide recognition for her bold and often colourful modernist linocuts. In the Anglo-Saxon world her reputation as an accomplished printmaker has lasted and her works continue to fetch good prices at auctions in Britain and Australia. New York’s Metropolitan Museum of Art holds some 120 of her prints in its permanent collection, while she has until to date never been distinguished with a solo exhibition in a public museum in her native Switzerland. This book, published to coincide with the first such display at Graphische Sammlung ETH Zurich, features some 50 of her unique linocuts. Designed as a proper picture book, it shows her refined and expressive compositions with their captivating narrative in full-page plates, which are supplemented by informative essays. Text in English and German.

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Raphael Ritz (1829–1894) is one of the most important artists to have emerged from the Swiss canton of Valais. In the 1850s, Ritz, who later became famous as the “Raphael of the Alps,” studied at the renowned Academy of Art in Düsseldorf, Germany, and perfected his technique in the genre of mountain painting, which focuses on the relationship between landscape and man. Ritz, who felt a strong connection to his roots, created landscape idylls in faraway Düsseldorf for an audience that appreciated regional peculiarities. At times with a touch of irony, he put his works at the service of a modern effort to illustrate the timeless character of everyday life. This new monograph looks at the work of the Valais-born artist beyond national borders and frames it in both the Swiss and international artistic contexts of the time. Ritz’s correspondence with his father, Lorenz Justin Ritz, who was a painter as well, is also comprehensively examined for the first time: it constitutes an important testimony to his artistic self-discovery. Selected photographs by Swiss contemporary artists from the museum’s collection show the Valais of today and establish a connection between Ritz’s ethnographic view of his own origins and the present. Text in French and German.

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Jacob Lawrence (1917-2000) is among the most distinguished 20th-century African-American painters. He is widely known for his modernist illustrations of everyday life as well as epic narratives of African American history and historical figures. The new book Jacob Lawrence: Lines of Influence explores his life, work, and legacy not only as an acclaimed artist but also as a storyteller, educator, and chronicler of the mid-20th-century African American experience. The book's first part, 'Relations', traces some of the engagements that shaped Lawrence's personal and professional life. It presents his work in dialogue with that of his contemporaries, mentors, and historically significant artists, such as Josef Albers, Richmond Barthe, Romare Bearden, Jose Clemente Orozco, George Grosz, Marsden Hartley, Gwendolyn Knight Lawrence, Horace Pippin and Augusta Savage. Its second part, 'Legacy', explores Lawrence's influence on contemporary artists living and working today and those who share similar formal and conceptual concerns.

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In 1913, psychiatrist, psychoanalyst, and theorist Carl Gustav Jung (1875-1961) experienced powerful visions, often terrifying. However, seeing their great potential value he found ways to encourage further visions and fantasies. Over many years, he recorded his experiences in a series of small journals, added commentaries and transcribed them, using calligraphy and illuminations, into a large, red, leather-bound volume, commonly known as The Red Book. Jung never published the Liber Novus, as he called this pivotal part of his oeuvre, and left no instructions for its final disposition, and it therefore remained unpublished until recently. The Red Book Hours complements the facsimile edition and English-language translation of The Red Book, published in 2009, and draws out insights into Jung's affinity with art as a means of personal insight. Psychologist and multimedia artist Jill Mellick documents copious research into Jung's choices regarding media and technique and his careful design of environments in which he could experience creative processes and allow unconscious content to flow forth. Her unlikely journey includes explorations of memory, serendipity, and science. A stunning interplay of texts and images includes magnifications of the wildly colorful and intricately detailed sketches from The Red Book and a selection of Jung's own pigments, never seen until now, The Red Book Hours presents a more comprehensive picture than ever before of the foundational psychoanalyst's experience and expression of his rich inner world.

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In summer 2015, performance artist Marina Abramovic and psychoanalyst Jeannette Fischer spent four days together at Abramovic's house in the Hudson Valley. Associating freely, they explored - from a psychoanalytical perspective - Abramovic's biography and art and what connects them. A better understanding of herself, her personality and her work, was Abramovic's objective. She claims that conversations with artists abound, with one curator saying this and another saying that. Yet there is no book in which psychoanalysis puts her life and artistic work in context. This new book aims to fill this gap. Yet it is not a therapist's report, nor a record of Fischer's analysis of Abramovic. It records the dialogue between artist and analyst attempting an interpretation of Abramovic's extraordinary violent performances that sometimes reach the brink of faint, even death. The two search for an understanding of the underlying structures and dynamics. Abramovic performs relationships, and she performs violence, yet she remains on her own in facing the pain and fear about it. The book is arranged in a sequence of dialogues, separated by Fischer's comments on and images of four of Abramovic's performances to which the psychoanalyst refers.

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Marcel Gautherot (1910-96) is regarded by many as one of the most significant French photographers, yet his work is relatively little known and even less published. Marcel Gautherot: The Monograph features some 200 of his striking pictures from all stages of his career, superbly reproduced in tritone printing. The images are complemented by essays on his affinity for modern architecture, his contribution to the history of photography, and on his attachment to Brazil. The most famous part of his work is the body of some 3,000 images documenting the construction of Brasilia 1958-1960. This, and other images he took of this extraordinary place until the 1970s, is widely appreciated as a high point of 20th-century architectural photography. Gautherot began an education in architecture but very soon took up photography as well. He travelled extensively in France and abroad and visited Brazil and Peru for the first time in 1939, before being drafted into the French army on the outbreak of World War II. Upon demobilisation in summer 1940 he returned to Brazil and made Rio de Janeiro his home for the rest of his life.

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Swiss artist, architect, designer, typographer, and theorist Max Bill (1908-94) was one of the most important exponents of concrete and constructive art and a key figure in the history of 20th-century European applied arts and design. Educated by such eminent teachers as Paul Klee, Wassily Kandinsky, and Walter Gropius at the Bauhaus in Dessau, Bill immediately displayed a genius for work in fields as diverse as painting, sculpture, architecture, typography and design from the outset of his career in the 1930s. In the 1950s, he teamed up with Inge Scholl and Otl Aicher to found the legendary Ulm College of Design in Ulm, of which he became the first director. In his work, Max Bill carried on the Bauhaus legacy, both as an artist and a teacher, and made a decisive and lasting contribution to 20th-century cultural life. The new edition of this authoritative and much sought-after monograph displays Bill's wide-ranging work and sets him in the context of his cultural milieu by featuring works by his contemporaries, such as Kurt Schwitters, Wassily Kandinsky, and Donald Judd. Accompanying essays investigate Bill's influence on other artists and the lasting importance of his oeuvre in the present. Text in English and German.

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The Museum of Drawers is the world's smallest museum of twentieth-century art. This unique piece has been conceived and put together by the Swiss-born artist Herbert Distel in 1970-77. It consists of an old cabinet made to hold reels of sewing silk whose twenty drawers each contain twenty-five compartments. Each of the 500 compartments houses an original miniature work of art, many of which were made especially for the Museum of Drawers. The list of artists represented includes such influential pioneers as Joseph Beuys, Marcel Duchamp, Hannah Hoch, Meret Oppenheim, Pablo Picasso, and Andy Warhol. Following a first presentation as a work-in-progress at the documenta 5 in Kassel (Germany) in 1972, the Museum of Drawers caused sensation internationally. It has been shown several times in New York, including a presentation at the Museum of Modern Art (MoMA) in 1999, and at many museums around the world. After its restoration it is now part of the permanent collection of the Kunsthaus, Zurich. This new book is a comprehensive documentation of this extraordinary object. It shows all twenty drawers with their content as well as each of the 500 miniature art works individually and in true size. Essays on the history and importance of the entire work and concept complement the images.

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