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Hatje Cantz Verlag
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Famed for her painted portraits, Elizabeth Peyton (born 1965) has also created a wide range of prints over the past two decades, including monotypes, lithographs, woodcuts and etchings. Experimenting with different techniques, she uses a variety of diverse paper stocks and handmade papers as well as various colored and monochromatic inks. In comparison to the diminutiveness of her paintings, the relatively large scale of these prints — in particular of the lithographs and monotypes — is remarkable. Her portrayed subjects here include historical figures such as William Shakespeare, Oscar Wilde and his lover Lord Alfred Douglas (Bosie) and Richard Wagner; visual artists such as Frida Kahlo, David Hockney, Andy Warhol and Robert Mapplethorpe; pop stars such as Eminem and Kurt Cobain; as well as her friends. More recently, Peyton has turned to the genre of the still life to explore and renew its contemporary relevance. This monograph of Peyton's prints is the first in-depth exploration of the artist as a critical printmaker. It includes essays by Sabine Eckmann and Hilton Als as well as an interview with the artist conducted by Beate Kemfert. Featuring more than 70 of her prints in color, the catalogue also includes the first comprehensive index of her prints to date. |
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A master of deadpan sculpture and the absurd gesture, the Austrian artist Erwin Wurm (born 1954) is tireless and brilliant in his constant reinvention of sculptural convention. With each new work Wurm seems to think sculpture completely afresh, and always with materials readily to hand, such as cars, houses, or bodies: his One-Minute Sculptures (which marked his international debut) consisted of simple instructional drawings that invited viewers to themselves become sculptures by assuming bizarre poses. Wear Me Out showcases Wurm at his most inventive yet, and spans the full scope of his thinking, from outdoor sculptures such as the fat and melting houses to the artist's latest work in furniture, drawings and — for the first time — clothing, developed in collaboration with the innovative Belgian fashion designer Walter Van Beirendonck, specifically for the artist's 2011 exhibition at Gemeentemuseum in The Hague. |
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«Jeff Koons (born 1955) is probably the most famous artist of the 1980s, and certainly one of the most notorious and controversial. In the summer of 2012, the Liebieghaus Skulpturensammlung and the Schirn Kunsthalle Frankfurt are collaborating on a bold and unprecedented simultaneous overview of Koons' sculptural and painterly oeuvre. The Liebieghaus show, titled «Jeff Koons: The Sculptor», creates a dialogue between Koons' sculptures (both world-renowned and recent works) and the nineteenth-century villa whose collection spans 5,000 years of sculpture, from Ancient Egypt to the present. The artist fell in love with the Liebieghaus after visiting the city on his way to the German company Arnold, which produced his oversize works in polished steel, such as the «Balloon Flower» sculptures of the 1990s. The Schirn's exhibit, «Jeff Koons: The Painter», focuses on the artist's monumental paintings, whose motifs draw upon the most varied sources of high and popular culture, from Manet to Popeye. In recent years, following the success of his flower and balloon dogs, Koons has revisited his painting practice, declaring, «I like the sense of warmth that comes from an actual painting and that's why I returned to making paintings». This substantial volume includes 270 color reproductions of sculptures and paintings from the breadth of Koons' 30-year career.» |
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The spoken and the written word have long since found their way into the visual arts: as epigrams, marginal notes, quotes, collaged text fragments, or part of a performance, a video, or a sound installation. In particular since the advent of Conceptual Art, language has even been regarded as the actual and independent material and medium of the visual arts. Association of Arts and Culture of the German Economy at the Federation of German Industries has been supporting artists in the areas of architecture, music, literature, and the visual arts since 1953. In 2011/12, a visual arts prize was offered on the theme of “language.” A jury chaired by Dr. Arend Oetker decided in favor of three prize winners, whose works were presented to the public in Essen and Riga and are now being shown in Bremen. “The artists use their media to plumb the limits of language-related possibilities, for instance at the intersection between sound and photography. They set out on a kind of ‘search for traces’ and reflect on access to language and forms of its being passed down at numerous levels.” |
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Pierre-Auguste Renoir (1841 1919) is so heavily associated with Impressionist painting that his last creative period has frequently been ignored. This publication devotes itself to precisely these last three creative and innovative decades, in which Renoir abandoned Impressionism. He dedicated himself during this period to cheerful subjects such as bathers, domestic idylls, and landscapes that were influenced by both classical mythology and his move to the south ofFrance. His fluid brushstrokes and masterful use of color were much admired by the up-and-coming modernist avant-garde. More than three hundred color illustrations graphically demonstrate the influence Renoir had on younger artists such as Bonnard, Matisse, and Picasso, as well as the ways they examined his work. |
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Incomparable masterpieces of Netherlandish drawing from the collection of Viennas Albertina. The entire artistic spectrum is opened up page by page: landscapes, seascapes, topographical views, portraits, rural genre scenes, and still lifes. The Albertina owns one of the worlds most important collections of Netherlandish drawings dating from the period 1430 to 1650. |
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Well-traveled photographer and war correspondent Felice Beato (1832 1909) reached the Japanese port city of Yokohama in July 1863 and spent more than twenty years there. He captured unique portraits of geishas in splendid kimonos, samurai, sumo wrestlers, and scenes of everyday life or classic Japanese landscapes. Beato s photographs deeply influenced the style of the Yokohama School, not so his fellow Japanese enthusiasts and contemporaries Charles Wirgman, Raimund Freiherr Stillfried von Rathenitz, and Adolfo Farsari. Characteristic of Beato s photographs which in the early days were exposed on albumin plates is their careful composition, occasionally recalling woodcuts by master artists Hiroshige or Hokusai. However, the Anglo-Italian photographer and his fellow artists were pioneers in hand-colored photography: their vivid impressions provide a view of traditional Japanese society of the waning Edo period, and for a long time they shaped the European notion of the exotic, distant Asian country. |
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The inimitable works of art by Jeff Koons (*1955 in York, Pennsylvania), one of the most famous artists in the world today, have been causing uproars since the eighties. This publication is an in-depth examination of three major groups of works: The New (1980 87), Banality (1988), and Celebration (ongoing since 1994), each one of which represents a spectacular and consequential phase in Koons s oeuvre. Ready-made objects from The New are transformed in Banality into wondrous, provocative sculptures created with traditional craftsmanship. A few years later, painting and sculpture appeared on an even par in Celebration. Hence, these three influential, manifesto-like stages are capable of providing insight into the work and ideas of Jeff Koons. |
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One of today’s best-known contemporary artists, New Leipzig School painter Neo Rauch (born 1960) blends the realistic figuration of Social Realism with Surrealism: brightly colored figures parade through upended environments, and multiple historical periods overlap in a single work. Most recognized for his paintings and drawings, Rauch has also created an impressive output of printed works over the past two decades, which visit the same themes as the rest of his output, and in Rauch’s own words “are accessories to my painting.” This publication presents the artist’s complete oeuvre of prints from 1993 to today, and celebrates Rauch’s gift of an edition of each of his prints to the town of Aschersleben in Germany, where he was raised. The collection will form the basis of a new art foundation and exhibition space, established in the artist’s name. Neo Rauch (born 1960) was born, reared and trained as an artist in Leipzig, where he continues to live. In August 2005, Rauch was awarded the chair of painting at Leipzig University. |
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Ron Galella (1931 in the Bronx) moved to Los Angeles in his early twenties, where he trained as a photojournalist. In his free time he took pictures of the stars arriving at film premieres, selling them to the National Enquirer and Fotoplay. His photos are snapshots rather than portraits spontaneous, not staged, and extraordinarily authentic. Whether Jacqueline Kennedy, Marlon Brando, Greta Garbo, Andy Warhol, Sean Penn, Robert Redford, Muhammad Ali, Madonna, Mick Jagger, or Audrey Hepburn Galella managed to get them all in front of his lens. In addition to physical assaults, his photographic approach also caused him to be sued he had to promise Jacqueline Kennedy not to take another picture of her again as long as he lived. Andy Warhol, on the other hand, adored him, and Elizabeth Taylor used his images in her biography. In addition to his spontaneous paparazzi photographs, Galella also took staged pictures, commissioned by magazines such as Time, Rolling Stone, VOGUE or Vanity Fair. The publication presents more than one hundred of his astounding photos. |
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Robert Kennedy was the most imposing politician he ever met. And Johnny Depp is incredibly photogenic. Steve Schapiro (*1934 in Brooklyn) ought to know, because he has actually photographed them all: his expressive portraits of Martin Luther King, Jr., Muhammad Ali, Barbara Streisand, Marlon Brando, David Bowie, Jodie Foster, and Robert de Niro are part of our collective visual memory. Besides his work with the stars, Schapiro and his camera accompanied the greatest political and social upheavals of the sixties and seventies. These photographs have also achieved iconic status. This volume includes a selection of photos taken over a period of more than fifty. In the accompanying essays, Schapiro explains how they were created, describing his experiences in a lively, humorous way. Along with previously unpublished photographs, the book also features new works by the old master. |
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Bulgarian artist Nedko Solakov (born 1957) is a storyteller who roots his themes in melancholic, humorous reflections on everyday life. His ambitious new installation at Ikon Gallery in the U.K. combines drawings, paintings, video and objects, and includes works made prior to 1989 (when Bulgaria was under Communist rule) alongside later pieces for which he is better known. |
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The work of Bulgarian artist Nedko Solakov (born 1957) balances political and social critique with deliberate naivete. The artist's activities incorporate small-scale drawing, sculpture and installation, translating his lived experiences under a totalitarian Communist regime into universally relatable expressions of anxiety and thwarted hope. |
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Alongside his development of a revolutionary abstract style, Vasily Kandinsky (1866–1944) demonstrated an ambition to go beyond conventional easel painting. His famous large paintings with musical and theatrical associations transformed into veritable environments. The catalogue explores the evolution of a Gesamtkunstwerk in the work of Kandinsky including essays by leading Kandinsky scholars on painting as a total work of art, or the artist’s interest in music and theatre. Separated into three sections, it illustrates how Kandinsky’s fascination for the Wagnerian concept of the Gesamtkunstwerk and the principles of synesthesia developed into large-scale painting within the context of the two highly significant artistic groups Blaue Reiter and Bauhaus, as well as in response to the changing historical circumstances, last but not least, culminating in his large-scale decorative utopian murals and installations. |
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«Almost singlehandedly, Leipzig school painter Neo Rauch has renewed the possibilities of allegory, politics and surrealism in contemporary painting. His epic canvases, with their disjunct components, resemble collages as much as painting, populated with characters seemingly plucked from momentous historical occasions — protestors, eminent-looking statesmen, soldiers, workers — as well as ordinary people engaged in bizarre, enigmatic actions of no apparent political/historical consequence whatsoever. The protagonists of these works, surrounded by floating symbols, abstract blobs and fragments of buildings and interiors, collide as if in some grand trans-historical continuum in which all eras come together. Realized in loud, garish hues partly informed by the artist's early exposure to Socialist Realism, Rauch's enigmatic pictorial narratives never vanish into explanation: «My paintings have something vital about them, like an animal, a living thing,» he says. «You don't have to understand them, just to feel that this creation, to the greatest possible extent, is at peace with itself.» Following major solo exhibitions in the Metropolitan Museum of Art in New York (2007), the Pinakothek in Munich (2010) and the Leipzig Museum of Art (2010), this new major Rauch monograph accompanies an exhibition at Bozar Expo in Brussels, and provides the most up-to-date overview of his accomplishment. The best-known exponent of the Leipzig school of painting, Neo Rauch (born 1960) was born, reared and trained as an artist in Leipzig, where he continues to live. In August 2005, Rauch was awarded the chair of painting at Leipzig University. In 2010, he received a major museum retrospective, held jointly at the Leipzig Museum of Art and the Pinakothek. In 2011, a selection of the works from this retrospective then traveled to the Zach?eta National Gallery of Art in Warsaw, Poland.» |
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In 1905, Adolphe Stoclet commissioned a private mansion in Brussels. Josef Hoffmann designed the home and its garden, and the many artists and friends of the Wiener Werkstätte decorated all of the rooms. The end result was a true synthesis of the arts, an exquisitely realized environment whose residents would carefully dress so as to complement their surroundings. But it was the contribution of Gustav Klimt that would become the Stoclet Palace's most famous component: a three-part mosaic frieze for the dining room, consisting of 15 separate components inlaid with gold, enamel and semi-precious stones. On the occasion of the recent completion of the frieze's restoration — the only one of Klimt's murals that survived the aerial bombardments of World War II — this publication examines Klimt's methods and compares his instructions with the work's execution. |
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Pablo Picasso was one of the most frequently photographed celebrities of the last century. Virtually all of the great twentieth-century portraitists photographed him, including Cecil Beaton, Henri Cartier-Bresson, Robert Doisneau, Man Ray, Irving Penn and Lee Miller. Photo Portraits of Picasso gathers these portraits for the first time, examining the often tense relationship between Picasso's control of his public persona and the intentions of the photographers. Ranging from classic staged sittings — some commissioned by Picasso himself — to more spontaneous snapshots, the portraits in this volume are a record of the artist's sustained, lifelong construction of his public identity. Other photographers included are Rogi Andre, Richard Avedon, Bill Brandt, Brassai, Rene Burri, Robert Capa, Lucien Clergue, Jean Cocteau, Denise Colomb, David Douglas Duncan, Jaques-Henri Lartigue, Herbert List, Dora Maar, Madame d'Ora, Willy Maywald, Gjon Mili, Inge Morath, Arnold Newman, Roberto Otero, Edward Quinn, Gotthard Schuh, Michel Sima and Andre Villiers. |
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The Staatliche Kunstsammlungen Dresden, or Dresden State Art Collections, comprise the oldest, second-largest group of museums inGermany. The eleven museums united under this umbrella organization are among the most famous in the world, and they contain a wealth of unique art treasures that span a variety of themes and epochs, attracting visitors from around the globe. Augustus the Strong and his son, Augustus III—both electors of Saxony and kings of Poland during the eighteenth century—were extraordinary connoisseurs of the arts, and their enthusiastic patronage had a lasting impact on the development of the collections which today are exhibited in world-famous buildings, such as the Zwinger, the Rezidenz, and the Albertinum. The year 2010 marks the 450th anniversary of the Dresden State Art Collections, and visitors are invited to travel through time—from the days of antiquity to the present. This opulent volume features numerous illustrations of very special highlights from the individual collections and the historical buildings that house them. |
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From the earliest days of the Cuban Revolution, the Revolutionary High Command was intensely aware of the power of the photographic image to advance the ideals of the Revolution, at home and abroad. If portraying the human side of its leaders was an important part of the Revolution's visual ideology, so too was its conception and depiction of the Cuban populace: as early as 1959, the High Command organized mass rallies in Havana assembling more than a million Cubans from throughout the island to celebrate the victory of the Revolution. Cuba in Revolution captures the complexity and the energy of this moment in all its contradictory beauty. It gathers a colossal array of photographs by both known and anonymous photographers into five thematic, chronologically overlapping sections: Pre-Revolutionary Cuba: 1933-1959; The Years of Struggle and Victory: 1953-1957; Sierra Maestra: The Revolutionary Movement: 1956-1959; Bay of Pigs 1961; and Picturing the Revolution: 1959-1968. From Constantino Arias' portraits of poverty and wealth in pre-revolutionary Havana to the photographs of the dead Che Guevara in Bolivia, this volume offers an epic photo-narrative of the Cuban story. Iconic pictures of Che Guevara by Alberto Korda and Rene Burri are complemented by snapshots of Fidel Castro playing golf or hunting in the Soviet Union. Raul Corrales' pictures of revolutionaries playing the conga drums during the Cuban Missile Crisis also reveal a different face of the Revolution; portraits of individual Cubans by Henri Cartier-Bresson present an equally fluid vision of everyday life in Cuba; and the political and the personal merge in startlingly intimate portraits of Che Guevara by Andrew Saint-George and images of the forbidden pop culture of the mid-1960s by Jose Figueroa. Throughout the publication there is an exhilarating tension between the heroic portrayal of the leaders-Castro, Guevara and Cienfuegos-and the dramatic portrayal of a people in the midst of revolutionary transformation. |
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Warhol's Queens combines the artist's portraits of actual female royalty with images of drag queens. For Warhol (1928-1987), both these genuine and fake queens epitomized idealized femininity, devoting their lives to presenting an unattainably glittering pageantry to the public for (not all too) close inspection. This volume juxtaposes Warhol's Polaroids of Princess Caroline of Monaco, Farah Diba Pahlavi and the then-Crown Princess Sonja, of Norway, with drag queens, whom Warhol characterized as living testimony to the way women used to want to be, the way some people still want them to be and the way some women still actually want to be. The intense faces with their exceptionally colored lips, eyes and hair are both aloof and strangely intimate. With its in-depth scholarly essays, this book is essential for fans of Warhol's portraiture and camp culture. |
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