Search results for ""Stedelijk Museum""

The programme 'Create with Artists' offers the most inspiring workshops the Stedelijk Museum of contemporary art in Amsterdam has organized for young people over the past decade. These workshops with artists and designers have become a true phenomenon in Amsterdam. Only about a dozen kids can participate in a workshop, which are always sold out, leaving the parents and many, many others jealously behind. In response to their ever-increasing popularity, the workshops have been transformed into this book. Now everyone can do these fun workshops-created by renowned contemporary artists and designers-at home, at a party, at a community centre, or at school. All the artists have a special connection to the museum and many of them are world famous. In this book they give us insights into their ways of looking at the world and the questions they ask themselves. The artists also share their personal tips and techniques. The workshops all start with a question to trigger the imagination and are spread out over an array of media, from painting, to sculpture, video, design, graffiti, photography, and more. The workshops are accessible for both children and grownups and can be done in groups as well as individually. The Stedelijk Museum is the largest museum for modern and contemporary art and design in the Netherlands.

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A stunning tour through the renowned, wide-ranging collection of contemporary art at Ghent’s Municipal Museum for Contemporary Art (S.M.A.K.) The Stedelijk Museum voor Actuele Kunst (translated as the Municipal Museum of Contemporary Art and commonly abbreviated as S.M.A.K.), located in Ghent, Belgium, has quickly established a reputation for both a superlative permanent collection and provocative exhibitions since it opened to the public in 1999. The museum’s collection focuses on international developments in art after 1945, including works by artists such as Francis Alÿs, Francis Bacon, Joseph Beuys, Marcel Broodthaers, Luc Tuymans, and Bruce Nauman. S.M.A.K. Highlights for a Future showcases the full range and exceptional quality of the museum’s holdings, illustrating some 200 artworks, from well-known masterpieces to less-familiar, recent acquisitions.Distributed for Mercatorfonds

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Photographer Jasper Léonard previously resized Antwerp and New York and now points his special tilt-shift lenses towards Amsterdam. Amsterdam Resized shows you the city like you've never seen it before: the famous canals of Amsterdam have been reduced to mere trickles with mini-sized bridges; the joggers in the Vondelpark now resemble Playmobil puppets, and the Stedelijk Museum now looks more like a bath tub. A new book in the Resized series, which has been a huge success in the US with articles in, among others, USA Today and the New York Post. International press has heaped praise on the Resized series: "The book is an intimate and magical token of admiration." - The Sydney Morning Herald Also available: Antwerp Resized ISBN: 9789401432702 Belgium Resized ISBN: 9789401434614 New York Resized ISBN: 9789401443395 Text in English and Dutch.

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Paintings and recollections of Ireland from the legendary American minimalist Collecting new paintings and writings by Amsterdam-based American painter Jo Baer (born 1929), Up Close in the Land of the Giants was created as a deliberate sibling to Baer’s 2013 exhibition catalog In the Land of the Giants, which was published on the occasion of the artist’s eponymously titled dual exhibition at the Stedelijk Museum Amsterdam and the Ludwig Museum Cologne. This new volume echoes the 2013 book in layout and design but offers readers a deeper look into the artist’s own thinking on her paintings and the reasons behind the sources she has chosen to reference in her compositions. The catalog is wide-ranging in its subject matter and is organized in sections that move between analysis of specific series of paintings to chapters that delve into bodies of research from fields as diverse as anthropology and archaeology to astronomy and geography, all of which have informed Baer’s work.

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With the help of 100 artworks, this book guides you through the collection of the Stedelijk Museum Amsterdam. Learn more about Kazimir Malevich's groundbreaking abstract paintings, the ingeniously knotted chair by Marcel Wanders, nearly kitschy art by Jeff Koons, and Rineke Dijkstra's intense portraits. Ten introductory texts impart everything you need to know in 1,000 words about modern art, photography, and design. For instance, why waste and junk can also be art. Or why something skillfully appropriated in art is better than badly conceived. Or why these days an unsuspecting visitor can suddenly join in a work of art. We lined up the 100 featured works from the collection on the included sheets of stickers. Pick your favorites and give the cover your own twist! With this guide, every curious visitor can be well prepared for their next encounter with modern art.

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Markus Raetz is one of the most renowned contemporary artists in Switzerland. Initially educated and working as a primary school teacher, he became an artist in his early twenties. Since the 1970s, his work, including solo exhibitions, has been been on the international stage. Raetz works with a variety of materials and media. The phenomenon of perception is his main focus, rather than how something is represented. Prints form a major part of his work. Markus Raetz.The Prints 1951-2013 covers his complete body of work in this genre.; the Catalogue Raisonne is complemented by a separate volume, with essays on his work and artistic development. Exhibitions: Museum of Fine Arts Bern, early 2014 (date TBC). Markus Raetz is represented with works also in the permanent collections of museums such as: Stedelijk Museum, Amsterdam; Kunstmuseum Basel, Basel; Museum fur Moderne Kunst, Frankfurt (Main); San Diego Museum of Contemporary Art, La Jolla CA; Tate Gallery, London; MoMA, New York; Musee national d art moderne, Centre Georges Pompidou, Paris; Schaulager, Munchenstein near Basel; Moderna Museet, Stockholm.

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At thirty-six, Julian Schnabel was not only represented in the most important exhibitions of his time; retrospectives of his works were already being celebrated in major museums such as the Stedelijk Museum, the Tate in London, or the Centre Pompidou in Paris. He writes this book, CVJ, and gives an account of his life: how he leaves Texas in 1973 to return to his hometown of New York City, hangs out in Max’s Kansas City, meets Sigmar Polke, Blinky Palermo, Ross Bleckner, and numerous other people in the scene, and even travels to Europe to study the Old Masters—experiences and observations that are both poetic and amusing to read. And at the same time it is fascinating to see the oeuvre he had produced up to that point: the Plate Paintings with their splintered surfaces, paintings in oil and wax, on velvet and tarpaulins, with “dirt” and cracks and objets trouvés that project into space, drawings, and sculptures. What is striking is their influence on younger generations of artists and on the current debate on painting.

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Taking the form of a composition book – a classic style of American notebook – Written English is an Allen Jones RA artwork in book form. Over 40 pages, Jones playfully explores the English language, and its use… and misuse.“Conquest and trade allowed the English language to become the World’s lingua franca, perhaps because its phonetic and grammatical structure is more pliable than most languages,” says Jones. “Global, popular culture, advertising and newspapers have shown a creativity that has enriched and extended our English usage.”Jones was elected a Royal Academician in 1986. He is one of Britain’s most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam.Written English is one of a collection of four artist’s books by Allen Jones that Black Dog Press is releasing in September 2022.

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This book features exclusive photography by the renowned artist Allen Jones RA. These images enable the shadows of his celebrated sculptures to become works of art in their own right, revealing a viewpoint previously unseen or unnoticed. Intermingled with views of the Jones’s own home and household objects, Shadows is an intimate, beautiful and playful 60-page publication featuring previously unseen work by the artist.“Light can transform a solid object into an insubstantial shadow, not a copy but a unique slant on the real thing,” says Jones. “Domestic shadows are anchored to their place but out of doors they can come alive seemingly of their own volition. Dependent on the sun and moon for their existence these shadow drawings will exactly repeat themselves only once a year – weather permitting.”Jones was elected a Royal Academician in 1986. He is one of Britain’s most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam.Shadows is one of a collection of four artist’s books by Allen Jones that Black Dog Press is releasing in September 2022.

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Ralph Gibson's diptych portrayal of Israel, a land at once deeply modern and incredibly ancient The American photographer Ralph Gibson traveled throughout Israel and the surrounding region to create a portrait of a land where the past is vividly part of the present. He contrasts these in two-page spreads in which color and black-and-white images face one another: ancient language in a visual dialogue with contemporary human experience. As architect Moshe Safdie writes in his accompanying text: “This is the promise and paradox of Israel, a new country in an ancient land, modernity next to regression, with abundant and creative energy and cultural output. The high-tech world of invention next to Torah studies. It is still a young country, not even yet past its Centennial. With an optimistic eye, one sees the promise yet to be.” For this project, Gibson visited many of the well-known sites of the Holy Land, including the ancient city of Petra in Jordan as well as Masada and the Sea of Galilee flowing into the River Jordan. Sacred Land is a sumptuous study in the aesthetics of time. Ralph Gibson was born in Los Angeles in 1939. In 1956 he enlisted in the navy, where he began studying photography. Since he published his first photobook The Somnambulist in 1970, his work has been the subject of over 40 monographs. His work is widely exhibited and held in public collections around the world, such as the Stedelijk Museum, Amsterdam, and the Museum of Modern Art, New York. He lives and works in New York.

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Shelby Lee Adams first encountered the communities of the Appalachian mountains as a child, while accompanying his doctor uncle on his rounds. In the mid-1970s he started to photograph in the region, using a 4 x 5 camera, gaining and building a special trust among its often impoverished people, who have tended to not always welcome would-be documentarians. Adams not only records their lives and hardships with great empathy, but also depicts the grace and humanity of his subjects, photographing with an ease evident in the results. Salt and Truth is Adams' fourth monograph, and presents 80 new photographs taken mostly over the past eight years. The photographs in this collection are of children and animals, of working people and of a way of life rarely glimpsed by photographers. Shelby Lee Adams (born 1950) is an American photographer renowned for his environmental portraiture, primarily in the Appalachian mountains of eastern Kentucky. Adams' work has been featured in three monographs: Appalachian Portraits (1993), Appalachian Legacy (1998) and Appalachian Lives (2003). In 2010 he was awarded a Guggenheim Fellowship. Adams' work is represented in many major permanent collections, including the Art Institute of Chicago; the International Center of Photography in New York; Musee De L'Elysee Lausanne in Switzerland; The Museum of Modern Art, New York; The National Gallery of Canada, Ottawa; Stedelijk Museum, Amsterdam; Time Life Collection, New York; Victoria and Albert Museum, London; and the Whitney Museum of American Art, New York. Adams was also the subject of a 2002 documentary film by Jennifer Baichwal, The True Meaning of Pictures: Shelby Lee Adams' Appalachia.

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Four decades of participatory art, films, sculpture and more from the iconic Relational Aesthetics pioneer Accompanying the first US survey and largest exhibition to date dedicated to Thai artist Rirkrit Tiravanija, Rirkrit Tiravanija: A LOT OF PEOPLE traces four decades of Tiravanija’s multifaceted practice. Spanning rarely seen early works from the 1980s through recent projects, the publication covers Tiravanija’s experimentations with installation, film, works on paper, ephemera, sculpture and participatory works. Designed by Tiffany Malakooti, the publication features over 400 images—many of which are published for the first time—as well as 23 newly commissioned texts. Longform essays by exhibition curators Ruba Katrib and Yasmil Raymond, as well as scholars Jörn Schafaff, David Teh and Mi You, dive into key aspects of Tiravanija’s work, providing historical context. These texts are complemented by 18 short reflections from artists, thinkers and collaborators who have been key interlocutors with Tiravanija over the years. Rirkrit Tiravanija (born 1961) is a Thai contemporary artist residing in New York, Berlin and Chiang Mai, Thailand. Recent solo exhibitions include the Hirshhorn Museum (2019); the National Gallery Singapore (2018); Stedelijk Museum, Amsterdam (2016); the Kunsthalle Bielefeld (2010); the Kunsthalle Fridericianum, Kassel (2009); the Musée d’Art Moderne de la Ville de Paris; the Guggenheim Museum, New York; the Serpentine Gallery, London (all 2005); and the Museum Boijmans Van Beuningen, Rotterdam (2004). Tiravanija has been on the faculty of the School of Visual Arts at Columbia University since 2000. He is the cofounder of the Land Foundation, located in Chiang Mai, Thailand, and a member of Bangkok’s alternative space and magazine VER.

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Allen Jones RA’s 52-page book On the Road: Parking Markings takes the reader on a graphic visual journey… by road.“Since roads were first bisected by a white line, a pictorial language has evolved that, in classic parlance, is the first or Primitive phase in ever-developing visual vocabulary,” says Jones. “Parking markings were introduced during my final years as a student. Produced with stencils, these marks are enlivened by human error and chance.“Because of increasing traffic during the 1960s a change was needed. Yellow represented a new and Classical phase, telling us what we should NOT do,” the artist continues. “Familiarity breeds contempt and by the 1990s the problem required desperate measures. Red, the colour of danger, anger and hell marked a third, Baroque phase in the developing language of road marking.“During the 1950s we were asked politely – in white. During the 1960s we were told – in yellow. During the 1990s we were shouted at – in red. Now the air – is blue.”Jones was elected a Royal Academician in 1986. He is one of Britain’s most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam.On the Road: Parking Markings is one of a collection of four artist’s books by Allen Jones that Black Dog Press is releasing in September 2022.

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An overview of John Stezaker’s film still collages, this book showcases the evolution of the artist’s relationship with a specific material. Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 – the result of a period that marked a crucial change in the direction of the artist’s work, which had previously been centered around a text-based ‘conceptualism’. The series moves with Stezaker’s changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker’s earliest film still collages with his most recent. Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Börse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate.

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In this beautifully executed, concertina-fold book, Allen Jones RA explores the human form and how painting on a figure is a vastly different process, and has vastly different results, to painting from a figure. The first half of the book features detail photography of the artist’s sculpture series Waiting on Table. The second half concertinas out to reveal the front and back of one of Jones’s most prominent sculptures, A Muse, which can also be displayed as a wall hanging. For many years as a student, Jones had to draw from casts of Greek and Roman sculptures. Over time he developed a reverence for their idealised bodies, heightened by the tactile purity of the white marble. It seemed sacrilegious to him, therefore, to discover later that the marble was often painted over with colour. For many years as a student, Jones had to draw from casts of Greek and Roman sculptures. Over time he developed a reverence for their idealised bodies, heightened by the tactile purity of the white marble. It seemed sacrilegious to him, therefore, to discover later that the marble was often painted over with colour. “Painting on a figure is quite different from painting the figure” is an observation that Jones has grown to embrace, and one that has greatly informed his practice. Like the Romans, Jones has discovered that colour matters. Jones was elected a Royal Academician in 1986. He is one of Britain’s most distinguished artists from the pioneering Pop Movement, whose paintings and sculptures are held in many important international collections, including: Tate Gallery and the Victoria & Albert Museum in London, the Museum of Modern Art in New York, the Hirshhorn Museum and Sculpture Garden in Washington DC, the Museum of 20th-Century Art in Vienna, the Wallraf-Richartz Museum in Cologne, the Moderna Museet in Stockholm and the Stedelijk Museum in Amsterdam.Colour Matters is one of a collection of four artist’s books by Allen Jones that Black Dog Press is releasing in September 2022.

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Newly reprinted, Against the Wall includes large-scale works primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. Originally published in 2010 on the occasion of Against the Wall, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel. Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The Wall, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.

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