An in-depth exploration of the last six decades of work from the iconic photographer and filmmaker, with a special focus on his ceaseless experimentation and artistic collaborations
This volume, published in conjunction with the artist's first solo exhibition at the Museum of Modern Art, New York, provides new insights into the interdisciplinary and lesser-known aspects of Robert Frank's expansive career. The exhibition explores the six decades that followed his landmark photobook The Americans, a period in which Frank maintained an extraordinarily multifaceted practice characterized by perpetual experimentation across mediums and artistic and personal dialogues with other artists and with his communities. Coinciding with the centennial of his birth, this catalog takes its name from the artist's poignant 1980 film, Life Dances On, in which Frank reflects on the individuals who have shaped his outlook.
The lushly illustrated publication features photographs, films, books and archival materials, layered with quotes from Frank on his influences and process. Three scholarly essays, excerpts from previously unpublished video footage and a rich visual chronology together explore Frank's ceaseless creative exploration and observation of life.
Robert Frank was a Swiss American photographer and filmmaker best known for his groundbreaking monograph The Americans (1958). Over his decades-long career, Frank captured the complexities of contemporary life with a distinct style and poetic insight. He lived between New York City and Nova Scotia, Canada.
Af Klint's exquisitely rendered botanical portfolio reveals a deep spiritual engagement with the flora of her native Sweden.
Across the spring and summer seasons of 1919 and 1920, Swedish artist Hilma af Klint engaged in a period of intense observation of nature, venturing into forests and fields and drawing the flowers she found there. The resulting 46 sheets comprise her Nature Studies portfolio, recently acquired by the Museum of Modern Art, New York. In pencil and jewel-toned watercolor, af Klint juxtaposed exquisitely rendered blossoms with enigmatic diagrams: a blooming sunflower is echoed by nested circles; lily of the valley is joined by a colorful checkerboard; catsfoot is set against a pair of mirrored spirals. Together, these two modes-representational and abstract-demonstrate the artist's belief that close observation of nature reveals "what stands behind the flowers": ineffable aspects of the human character.
Published in conjunction with the first public exhibition of this rare portfolio, Hilma af Klint: What Stands Behind the Flowers presents the drawings alongside contextualizing artworks and translations of the artist's previously unpublished writings. An overview essay by curator Jodi Hauptman explores af Klint's portfolio and the circumstances of its creation; texts by Ewa Lajer-Burcharth, Laura Neufeld and Lena Struwe unpack the imagery, materiality and botanical knowledge behind these works.
Hilma af Klint (1862-1944) trained at Stockholm's Royal Academy of Fine Arts and established herself as a professional artist. In the first decade of the 20th century, she developed a unique abstract vocabulary, some years earlier than her peers. Whether on canvas or on paper, her singular work is informed by her spiritual investigations and, as this project demonstrates, an interest in and attunement to the natural world.
Le travail de William Eggleston fut présenté lors d'une exposition au MoMA en 1976, accompagnée par la sortie de l'ouvrage William Eggleston's Guide. Cette exposition est considérée comme un tournant dans l'histoire de la photographie marquant « l'acceptation de la photographie couleur par la plus grande institution de validation » (selon les mots de Mark Holborn). Ce catalogue d'exposition qui fit date est aujourd'hui réimprimé.
Vital Signs looks closely at how abstraction is often intimately tied with expansive, fluid ideas of the bodily. Bringing together seemingly unalike categories?masculine/feminine, figurative/abstract, self/other, exotic/banal?into newly fused configurations, the publication shows how artists have often conceived of these categories as inextricably intertwined. With a focus on artists working in the 1960s and 70s who, with a few exceptions, identified as women, the catalogue is divided into three thematic sections.
'Mirror' explores the ways artists have honed in on the forms of the face and head as a distorted mirror; 'Matter' looks at how artists draw on the metaphorical resonances of the body in ways that suggest mutable morphologies, especially in relation to socially constructed definitions of gender, race, and sexuality; and 'Metamorphosis' examines how artists have used abstraction as a means to transform the human body into different modes of being: new identities, other animals, and spiritual or cosmological entities.
An introductory essay Lanka Tattersall maps the historical precedents from a feminist and queer art historical perspective, while a prologue by poet and artist Precious Okoyomon and a focused meditation by Lambda Literary Award finalist Cyrus Grace Dunham open up new forms of language for questions around gender and abstraction.
Encompassing photography, installation, print media, video and more, this publication is the most comprehensive account of Tillmans' wide-ranging career to date A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, ecstatic images of nightlife to cameraless abstractions, sensitive portraits to architectural studies, astronomical phenomena to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with how to make new pictures and deepen the viewer's experience.
Published in conjunction with a major exhibition of Tillmans' work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist's career. An outstanding group of writers offer diverse essays addressing key threads of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs. Wolfgang Tillmans: To look without fear grants readers new insight into the work of an artist who has not only changed the way photography is exhibited but pointed contemporary art in dynamic new directions.
Wolfgang Tillmans (born 1968) is among the most influential contemporary artists, and the impact of his work registers across the arts, intersecting with fashion, music, architecture, the performing arts and activism. Tillmans is the recipient of the Turner Prize (2000) and the Hasselblad Foundation International Award in Photography (2015). His foundation, Between Bridges, supports the advancement of democracy, international understanding, the arts and LGBTQ rights.
Cet ouvrage accompagne la première grande exposition sur les dessins de toute la carrière de Cézanne, qui aura lieu en 2021 au MoMa. Il retrace le développement de sa pratique sur papier, explorant des méthodes de travail qui transcendent le sujet et consacrant des essais à la conservation des oeuvres et au débat curatorial.
Tim Burton has reinvented Hollywood genre filmmaking over the past three decades. With a visual style inspired by the aesthetics of animation and silent comedy, Burton's work melds the exotic, the horrific and the comic, manipulating expressionism and fantasy with the skill of a graphic novelist. Published to accompany a major career retrospective at The Museum of Modern Art, this affordable volume considers Burton's career as an artist and filmmaker. It narrates the evolution of his creative practices, following the current of his visual imagination from his earliest childhood drawings through his mature oeuvre. Illustrated with works on paper, moving-image stills, drawn and painted concept art, puppets and maquettes, storyboards and examples of his work as a graphic artist for his non-film projects, this volume sheds new light on Burton and presents previously unseen works from the artist's personal archive.
Acclaimed American filmmaker Tim Burton (born 1958) is known for his dark, gothic films about quirky outsiders, many of which are both Hollywood blockbusters and cult classics. To date they have been nominated for 16 Academy Awards and have won six. They include Pee-Wee's Big Adventure (1985), Beetle Juice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), Ed Wood (1994), Sleepy Hollow, (1999), Charlie and the Chocolate Factory and Corpse Bride (both 2005) and Sweeney Todd: The Demon Barber of Fleet Street (2007), among others. Alice in Wonderland is slated for 2010. Burton has collaborated extensively with composer Danny Elfman and with actors Johnny Depp and Helena Bonham Carter.
Hailed as the most successful and inspiring exhibition of photography ever assembled The Family of Man opened at The Museum of Modern Art in January 1955. This book, the permanent embodiment of Steichen's monumental exhibition, reproduces all of the 503 images that Steichen described as a mirror of the essential oneness of mankind throughout the world... Photographs, made in all parts of the world, of the gamut of life from birth to death... Photographs of lovers and marriage and child-bearing... Photographs concerned with man's dreams and aspirations and photographs of the flaming creative forces of love and truth and the corrosive evil inherent in the lie.
A revelatory new volume on the American modernist's lesser-known works on paper, reuniting many serial works for the first time.
Recalling a charcoal she made in 1916, Georgia O'Keeffe later wrote, "I have made this drawing several times--never remembering that I had made it before--and not knowing where the idea came from." These drawings, and the majority of O'Keeffe's works in charcoal, watercolor, pastel and graphite, belong to series in which she develops and transforms motifs that lie between observation and abstraction. In the formative years of 1915 to 1918, she made as many works on paper as she would in the next 40 years, producing sequences in watercolor of abstract lines, organic landscapes and nudes, along with charcoal drawings she would group according to the designation "specials." While her practice turned increasingly toward canvas in subsequent decades, important series on paper reappeared--including charcoal flowers of the 1930s, portraits of the 1940s and aerial views of the 1950s.
Published in conjunction with an exhibition at the Museum of Modern Art, New York, this richly illustrated volume highlights the drawings of an artist better known as a painter, and reunites individual sheets with their contextual series to illuminate O'Keeffe's persistently sequential practice.
Born in Sun Prairie, Wisconsin, Georgia O'Keeffe (1887-1986) first received critical attention when her breakthrough charcoal drawings were exhibited in New York in 1916. Two years later, she moved to the city to work full time on her art. Beginning in 1929, O'Keeffe spent summers in New Mexico, where she would relocate in 1949. The most famous female artist of her age, she thought of herself not as "the best woman painter" but as "one of the best painters."
Publiée pour accompagner une exposition au MoMA, cette publication rassemble une sélection de photographies pour présenter les expériences photographiques révolutionnaires des photographes modernistes brésiliens du Foto-Cine Clube Bandeirante (FCCB) à un public plus large. Six chapitres thématiques mettent en lumière les réalisations individuelles de chaque membre ainsi que l'importance du groupe lui-même, s'intégrant dans l'histoire de la photographie telle que nous la connaissons et la connectant à la peinture brésilienne contemporaine et aux musées d'art moderne de São Paulo. Il s'agit de la première publication en langue non portugaise à s'intéresser à ces photographies.
How have women artists used photography as a tool of resistance? Our Selves explores the connections between photography, feminism, civil rights, Indigenous sovereignty and queer liberation Spanning more than 100 years of photography, the works in Our Selves range from a turn-of-the-century photograph of racially segregated education in the United States, by Frances Benjamin Johnston, to a contemporary portrait celebrating Indigenous art forms, by the Chemehuevi artist Cara Romero.
As the title of this volume suggests, Our Selves affirms the creative and political agency of women artists. A critical essay by curator Roxana Marcoci asks the question "What is a Feminist Picture?" and reconsiders the art-historical canon through works by Claude Cahun, Tina Modotti, Carrie Mae Weems, Catherine Opie and Hulleah J. Tsinhnahjinnie, among others. Twelve focused essays by emerging scholars explore themes such as identity and gender, the relationship between educational systems and power, and the ways in which women artists have reframed our received ideas about womanhood.
Published in conjunction with a groundbreaking exhibition of photographs by women artists--drawn exclusively from MoMA's collection, thanks to a transformative gift of photographs from Helen Kornblum in 2021--this richly illustrated catalog features more than 100 color and black-and-white plates. As we continue to aspire to equity and diversity, Our Selves contributes vital insights into figures too often relegated to the margins of our cultural imagination.
In this book, Children will see how Matisse used nothing but paper and scissors to create simple shapes like squares, leaves and birds, and experimented with scraps of leftover paper and new colour combinations to create lush gardens on his studio walls.
Profiles of fourteen women who transformed the country's foremost modern art museum in its fledgling years.
Founded in 1929, The Museum of Modern Art owes much of its success to a group of remarkable women who shaped its future during its first decades. Because there were few precedents for a museum devoted to modern art, MoMA was free to invent itself without the requirements?professional experience, competitive salaries?that traditionally limited an art institution's jobs to men.
Le photographe italien Luigi Ghirri (1943-92) a réalisé des paysages en carton (Paesaggi di cartone) lors de ses voyages en Europe, inventant le terme de «géographie sentimentale» pour décrire son approche artistique unique consistant à examiner l'ordinaire pour la transformer en remarquable. L'album original fait à la main présente plus de 100 impressions couleur chromogéniques collées sur les pages d'un livre vierge, et a été offert par Ghirri à John Szarkowski, alors directeur du département de la photographie au Musée d'art moderne, dans les années 1970. Il est ici édité pour la première fois par le MOMA, révélant une oeuvre complexe qui se distingue du travail connu du photographe.
This comprehensive monograph accompanies the first full retrospective to explore the groundbreaking art of Jack Whitten, one of the foremost American artists of the postwar period, working between the 1960s and 2010s in New York.
Jack Whitten (American, 1939-2018) changed the way we see art and society. He defied traditional boundaries between abstraction and representation, pictures and things, culture and technology, individual identity and global history.
A colorful exploration of the artwork and influences of Anni Albers-who changed our ideas about what is art and what is craft and what is both-this engaging book introduces young readers to the fundamentals of weaving and the world of textiles.
Bert, a plucky but sometimes lazy bird, wakes up one morning to discover that his nest has fallen apart.
Publié à l'occasion d'une grande exposition au MoMA, ce catalogue propose une nouvelle approche de certaines des images les plus emblématiques de la photographe Dorothea Lange, telles que White Angel Breadline (1933) et Migrant Mother (1936), ainsi que des clichés rarement exposés. Les photographies, dont certaines sont reproduites dans leur publication originale, sont accompagnées des contributions d'un groupe distingué d'écrivains, d'artistes et de penseurs critiques contemporains qui répondent aux images par des observations à la fois personnelles et savantes. En regardant l'ampleur de la carrière de Lange et les divers contextes dans lesquels son travail est apparu, nous acquérons une compréhension plus nuancée de sa démarche et de sa conviction que « toute photographie peut être fortifiée par des mots. »
A single potato chip on a matchbox, larger-than-life figurative sculptures polished to a gleam: Thomas Schütte's category-defying oeuvre gives form to the incongruences of the world we inhabit
The Düsseldorf-based sculptor, draftsman, model maker and sometime architect Thomas Schütte works in scales ranging from small to monumental. Rooted in minimal and conceptual art, his work addresses history, art history, modes of meaning and how art can function in the world.
Published in conjunction with the first museum retrospective of Schütte's work in the United States in over 20 years, this eponymous monograph presents a holistic overview of his career from 1975 to the present. Taking aesthetics, form and history as its focus, the publication features over 100 sculptures, drawings, prints and experiments in architecture, alongside revelatory archival materials. Curator Paulina Pobocha has worked in close collaboration with Schütte since 2015, and has had complete access to his archives, as well as the myriad drawings and notebooks still in his possession. Excerpts from these papers are published for the first time in this catalog. Additionally, essays by Pobocha, Jennifer Allen and André Rottmann provide historical and theoretical pathways into the complexity of Schütte's oeuvre, and contributions by artists Marlene Dumas and Charles Ray reflect on Schütte's significance through close readings of his work.
Thomas Schütte (born 1954) studied under Gerhard Richter and Fritz Schwegler at the Kunstakademie Düsseldorf. He has participated in Documenta, Skulptur Projekte Münster and the Venice Biennale, where he was awarded the Golden Lion in 2005. His work can be found in the collections of major institutions across Europe and North America.
Bogdan Bogdanovic est un architecte yougoslave. Ses mémoriaux idiosyncratiques aux victimes et héros de la Seconde guerre mondiale diffusés dans tout le pays continuent d'attirer l'attention aujourd'hui, 25 ans après la disparition du pays. Cet ouvrage présente l'ensemble des projets imaginés par Bogdanovic - cimetière, cénotaphes, nécropoles, parc mémoriels, mausolées et autres monuments - entre les années 1950 et 1970, à la croisée de l'architecture, de la sculpture et du design de paysage. Les photographies prises par l'architecte lui-même, et pour la plupart inédites, proposent une lecture intime de ses oeuvres et de sa sensibilité surréaliste.
Structured Lineages: Learning from Japanese Structural Design présente une sélection d'essais et de comptes-rendus de tables rondes, animés par des ingénieurs de renommée internationale, sur les traditions imbriquées d'architecture et d'ingénierie dans le Japon d'après-guerre. Livrés à l'origine comme exposés lors d'un symposium organisé au Museum of Modern Art en 2016 à l'occasion de l'exposition « A Japanese Constellation: Toyo Ito, SANAA, and Beyond », les dix essais réunis dans ce volume offrent un aperçu des collaborations entre architectes et ingénieurs qui ont engendré de nombreux bâtiments les plus importants construits au Japon après 1945, avec un accent particulier sur les travaux de Tange Kenzo, Kawaguchi Mamoru, Kimura Toshihiko, Matsui Gengo, Saitoh Masao, Sasaki Mutsuro et Tsuboi Yoshikatsu.
Cet ouvrage, qui accompagne l'exposition éponyme du MoMA (fevrier à mai 2021), examine comment l'architecture contemporaine peut aborder les diverses problématiques liées au racisme systémique anti-Noir, vecteur histoires violentes de discrimination et d'injustice aux États-Unis. Les designers invités réinventent l'héritage de la dépossession raciale dans dix villes américaines et comment des individus et des communautés à travers les États-Unis ont mobilisé les espaces, formes et pratiques culturels noirs comme sites d'imagination, de libération, de résistance et de refus. Le catalogue comprendra un portefeuille de nouvelles photographies de l'artiste David Hartt.
Dans les années 1960, une croissance sans fin et une consommation toujours croissante a mené des inquiétudes concernant la pollution industrielle, l'épuisement des ressources et l'effondrement écologique, inspirant une nouvelle génération d'architectes à repenser les principes fondamentaux de leur profession. Publié pour accompagner la première vaste étude de l'histoire de la pensée environnementale en architecture, Emerging Ecologies: Architecture and the Rise of Environmentalism étudie le rôle que les architectes jouent dans la définition des termes de la « nature » et de « l'environnement ». À travers un essai du conservateur Carson Chan, des textes bien ciblés sur chacun des projets présentés et une chronologie historique, Emerging Ecologies documente les enchevêtrements entre l'écologie, le design et l'état, permettant de l'évolution de l'action écologique porté par les architectes aujourd'hui.
