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Книги издательства «Hatje Cantz Verlag»
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The Albertina in Vienna houses one of the world's most famous collections of art. This extensive, sumptuously illustrated volume presents the museum's masterpieces acquired from the founders of the collection, Albert, Duke of Saxe-Teschen, and his consort, the Grand Duchess Marie Christine. The history of the couple's mercurial, fateful lives begins in the Baroque era at the court of Maria Theresa and moves through the years of revolution in America and Europe to the restoration of the conservative monarchies after the Vienna Congress. Their sojourns in Dresden, Rome, Paris, Brussels and Vienna--centers of European culture and politics, as well as hotbeds of social and intellectual innovations during the Enlightenment — are elucidated, and private insights into the feudal lifestyle of the European aristocracy are provided. Networks of collectors and art dealers are outlined, and the history of the ideas behind this princely collection of prints is explained. |
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This volume juxtaposes the dynamic, sweeping planes and angles of the buildings of Zaha Hadid (born 1950) with the equally dynamic art of the Russian Suprematist and Constructivist avant garde-as exemplified in works by Ilya Chashnik, El Lissitzky, Kasimir Malevich, Alexander Rodchenko and Nikolai Suetin. The book documents an extraordinary, imaginative exhibition curated and designed by Hadid, which examines this conjunction across four themes or aesthetic qualities: Abstraction, Distortion, Fragmentation and Flotation. The exhibition, held in the Galerie Gmurzynska in Zurich in the summer of 2010, was effectively a continuous art installation or environment, with the rooms dramatically striated and sculpted in angular black and white patterns. Hadid first explored the Russian avant garde in her graduation project in 1976-77, and this project consequently represents both a culmination and a labor of love for the architect. |
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«This exhibition celebrates that groundbreaking moment in the history of modern art when Kazimir Malevich debuted his new nonobjective paintings — including the «Black Square» — under the banner of Suprematism and Vladimir Tatlin introduced his revolutionary counter-relief sculptures. Malevich and Tatlin were bitter rivals and diametrically opposed in their creative thinking, so when the exhibition 0,10: The Last Futurist Exhibition of Painting, organized by fellow artist Ivan Puni, was launched in Petrograd in 1915, the other 12 artists in the show (Ivan Puni, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nathan Altman, Vasily Kamensky, Vera Pestel, Maria Ivanovna Vasilieva, Anna Michailovna Kirillova and Mikhail Menkov) chose sides. It was a stylistically diverse exhibition, with Cubist-inspired works and the first nonobjective paintings and reliefs. «In Search of 0,10» accompanies a show at the Fondation Beyeler, which includes a large number of the works from the original exhibition. The catalogue features essays by exhibition curator Matthew Drutt and other leading scholars, as well as documents gathered together and translated for the first time.» |
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This publication reissues a much sought-after photobook. Taryn Simon is an American artist whose works combine photography, text and graphic design. Her practice involves extensive research, in projects guided by an interest in systems of categorization and classification. For Contraband, 1,075 photographs were taken at both the US Customs and Border Protection Federal Inspection Site and the US Postal Service International Mail Facility at John F. Kennedy International Airport, New York. From November 16 to November 20, 2009, Simon remained on site and continuously photographed items detained or seized from passengers and express mail entering the United States from abroad. The list of items includes pork, syringes, Botox, GBL date rape drug, heroin, imitation Lipitor, Ketamine tranquillizers, Lidocaine, Lorazepam, locust tree seed, ginger root, deer tongues, cow urine, Cohiba cigars and Egyptian cigarettes. The volume is published in three differently colored covers.Taryn Simon (born 1975) has been the subject of monographic exhibitions at Ullens Center for Contemporary Art, Beijing (2013); The Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); and Whitney Museum of American Art, New York (2007). Her work is in the permanent collections of The Metropolitan Museum of Art, Tate Modern, Whitney Museum of American Art, Centre Georges Pompidou and Museum of Contemporary Art, Los Angeles, and was included in the 54th Venice Biennale in 2011 and the Carnegie International in 2013. She is a graduate of Brown University and a Guggenheim Fellow. Simon lives and works in New York. |
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In 2012, the Museum Tinguely in Basel mounted the exhibition Tatlin: New Art for a New World, the first comprehensive overview of the Russian pioneer in more than 20 years. An interdisciplinary symposium took place during the show, for which researchers from around the world were invited to reassess Tatlin's oeuvre. This volume provides transcriptions of the occasion, which was divided into six themed panels: Paintings and Counterreliefs; Tatlin and his Contemporaries (with papers on Khlebnikov, Malevich, van Doesburg); Revolution, Architecture, Utopia: Tatlin's Tower; Literature and Theater (with papers on the artist's set designs and works with Khlebnikov); The Flight of the Letatlin (on Tatlin's glider); and Perception of Tatlin's Oeuvre in the Twentieth and Twenty-First Century. |
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The notoriously complex life and radical, visionary work of Frida Kahlo (1907–1954) are inextricably interwoven, at times seeming to constitute a whole theatrical performance. As the daughter of a German-born photographer, Kahlo was used to posing, and from early youth she was adept at guiding the public perception of her person. In her often anguished self-portraits, she dissected her conflicts and her physical traumas, soon becoming an iconic figure and a symbol for Mexican culture. Yet ironically she transgressed many boundaries and shattered taboos in a way that was perhaps shocking to most Mexicans. In portraits by friends and photographers such as Tina Modotti and Edward Weston she wears traditional clothing and features many Mexican folk traditions, transforming her “Mexicanidad” into an indelible personal trademark. Through numerous paintings and photographs, and with articles by acclaimed theorists such as Griselda Pollock and Mieke Bal, this book traces the major events of this unique artist’s life, while relating Kahlo’s art to that of her contemporaries, such as Diego Rivera, María Izquierdo, David Alfaro Siquieros and José Clemente Orozco. |
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«This exhibition celebrates that groundbreaking moment in the history of modern art when Kazimir Malevich debuted his new nonobjective paintings — including the «Black Square» — under the banner of Suprematism and Vladimir Tatlin introduced his revolutionary counter-relief sculptures. Malevich and Tatlin were bitter rivals and diametrically opposed in their creative thinking, so when the exhibition 0,10: The Last Futurist Exhibition of Painting, organized by fellow artist Ivan Puni, was launched in Petrograd in 1915, the other 12 artists in the show (Ivan Puni, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nathan Altman, Vasily Kamensky, Vera Pestel, Maria Ivanovna Vasilieva, Anna Michailovna Kirillova and Mikhail Menkov) chose sides. It was a stylistically diverse exhibition, with Cubist-inspired works and the first nonobjective paintings and reliefs. «In Search of 0,10» accompanies a show at the Fondation Beyeler, which includes a large number of the works from the original exhibition. The catalogue features essays by exhibition curator Matthew Drutt and other leading scholars, as well as documents gathered together and translated for the first time.» |
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«In 1889, Paul Gauguin (1848–1903) organized the independent «L’Exposition de Peintures du Groupe Impressionniste et Synthésiste» at Café Volpini with his followers on the occasion of the Paris World’s Fair. The French artist presented an extraordinary portfolio of prints in this framework for the first time: the so-called «Suite Volpini», an ensemble of eleven lithographs printed on radiant yellow paper. The publication examines the year 1889 as a defining moment in Gauguin’s development in which his autonomous, revolutionary new painting style and the central motifs of his work were unmistakably formed. It reconstructs the Volpini exhibition in the process, demonstrating the radicality of the works produced by Gauguin’s artistic circle. The «Suite Volpini» – for Gauguin a visual résumé that was intended to advertize his role as the founder of a new style – will be comprehensively described and seen in the context of the artist’s related paintings, woodcuts, ceramics, prints, and drawings.» |
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