Previously unseen early works from the Weimar Republic's greatest chronicler and satirist.
This volume is dedicated to the early life and career of the brilliant young artist Georg Ehrenfried Gross (1893-1959), who would later become known as George Grosz. Known for his politically charged paintings and caricatural depictions of Berlin life in the 1920s, the youthful Gross had a long way to go before changing his name and becoming the most popular and sharp-tongued chronicler of the Weimar Republic. Gross made his first oil paintings in 1912 while still a student, and by 1914 was working in a style deeply influenced by Expressionism, Futurism and popular illustration. Presenting over 50 works made between the years 1904 and 1917, all but a few exhibited for the first time ever, the inaugural exhibition of Das kleine Grosz Museum, and this accompanying catalog, trace the artistic and biographical trajectory of this great artist's journey.
A reexamination of an exiled German artist's final works at war's end.
German draughtsman George Grosz (1893-1959) created his last major series of paintings and watercolors, the «Stick Men», beginning in the mid-1940s in reaction to the Holocaust and the other atrocities of the Second World War. The deployment of atomic bombs in Japan and the threat of a Third World War further deepened what the artist termed his «despair, hate and disillusionment.» In his final works, he drew his figures as dehumanized, famished beings aimlessly wandering through a contaminated, post-apocalyptic world. As the first exhibition of the «Stick Men» series following the artists' death, this catalog contradicts the notion that Grosz had become «soft» and apolitical during his years spent in the United States. Rather, this series is the culmination of the political and artistic convictions of a lifetime of struggle: a timely and relevant legacy even today.
A miniature manifesto for the endless possibilities of the book form, from the world's most famous living book designer.
In Book Manifest, world-renowned Dutch designer Irma Boom presents her vision on the essence, meaning and relevance of the book. Based on the in-depth research that Boom conducted into the development of the book in the library of the Vatican, Book Manifest is at once a survey of the history of the book and a miniature Irma Boom retrospective, reproducing a selection of more than 350 books she has designed over the course of her eminent career. Alongside reproductions, Boom extensively discusses the relationship between her work and older book forms.
With this tiny (two and a half by three inches), slipcased, 1,000-page, richly illustrated volume, itself an exceptional feat of bookmaking, Boom aims to inspire and encourage a new generation of designers to experiment and develop new ways of conceiving this simplest and most enduringly effective of forms.
Described by Eye Magazine as "the Queen of Books," Irma Boom (born 1960) has created more than 300 books, always challenging the conventions of both design and printed content. She is the youngest recipient of the Gutenberg Prize, recognizing outstanding services to the advancement of the book arts. A selection of Boom's books are held in the permanent collection of the Museum of Modern Art, New York, and an Irma Boom Archive has been instituted at the University of Amsterdam, Netherlands, to showcase her work.
La peintre allemande Gabriele Münter (1877-1962) était bien plus que « la femme aux côtés de Kandinsky » et les études des deux dernières décennies ont renforcé sa réputation en tant qu'une des principales protagonistes de l'avant-garde allemande. Son utilisation de couleurs saturées et de lignes en forme de blocs, s'inspirant à la fois des tendances expressionnistes et fauvistes, a même produit un changement considérable dans la palette et dans les compositions de Kandinsky. Ce volume accompagne une exposition personnelle complète de l'oeuvre de Gabrielle Münter au Musée Léopold de Vienne, la première en Autriche. Divisée en dix axes thématiques, cette publication analyse les étapes fondamentales de sa vie, qui ont souvent coïncidé avec des ajustements dans son style. Les 250 images en couleur comprennent plus de 120 oeuvres provenant de collections internationales publiques et privées, notamment des peintures à l'huile, des oeuvres graphiques, des dessins, des photographies, des objets et des carnets de croquis, offrant un aperçu approfondi de l'oeuvre aux multiples facettes de l'artiste.
En parallèle de ses sculptures, Anthony Cragg a réalisé une importante production graphique. Ce premier volume du catalogue raisonné des oeuvres de Cragg montre pour la première fois la diversité des styles et des thèmes de ses dessins, aquarelles, gouaches et gravures. Un index de 1800 illustrations procure un aperçu quasi-complet de ses oeuvres graphiques.
Het boek belicht het weinig bestudeerde vroege werk van De Keyser en omvat onder meer een rijk geïllustreerde catalogue raisonné van de schilderijen gemaakt tussen 1964 en 1980.
Raoul De Keyser (1930-2012) start met schilderen als jongeman in de jaren 1940. Al in de vroege jaren 1950 breekt hij zijn artistieke loopbaan af voor een job als ambtenaar en journalist. Pas in 1964 manifesteert hij zich opnieuw als kunstenaar met werken die aanvankelijk de nieuwe trends in de figuratieve schilderkunst (Pop Art, nouveau réalisme) oproepen, terwijl ze later aansluiten bij het Amerikaans modernisme (Colorfield Painting, Post-Painterly Abstraction, Hard Edge). In de jaren 1970 vertoont De Keysers werk sterke overeenkomsten met zowel de Minimal Art als de Fundamentele schilderkunst.
De tentoonstelling in VANDENHOVE focust op deze vroege periode in De Keysers werk en bestaat uit een twintigtal schilderijen die nooit eerder werden geëxposeerd of die niet meer werden getoond sinds de jaren 1960 en '70. Naast enkele jeugdwerken omvat de expositie een uitzonderlijke selectie schilderwerken uit privé-collecties, van werken uit de jaren 1960 die representatief zijn voor de zogenaamde Nieuwe Visie tot gelaagde schilderijen uit de jaren 1970. Zij vertonen de vertrouwde landschappen, kamers, krijtlijnen, tenten en wolken, soms in verrassende kleuren die afwijken van zijn meer bekende werken. Sommige schilderijen lijken bovendien bepaalde thema's of gevoeligheden aan te kondigen die later in zijn loopbaan verder werden uitgewerkt. Samen tonen ze een traject doorheen de motieven, variaties, hernemingen en overschilderingen die het hele oeuvre van De Keyser tekenen.
Naast deze nooit of zelden getoonde werken, omvat de tentoonstelling stukken uit het archief van Raoul De Keyser, dat deel uitmaakt van de collectie van de Centrale Bibliotheek van de Universiteit Gent. Installatiezichten, posters, folders, schetsen en aantekeningen (waarvan vele nooit eerder werden gepubliceerd) werpen een nieuw licht op De Keysers vroege artistieke ontwikkelingen, met aandacht voor onder meer zijn activiteiten als sportjournalist en kunstcriticus, zijn connecties met Nederlandse musea en galeries, zijn affiniteiten met grafische vormgeving, zijn atelier als tentoonstellingsruimte en zijn niet aflatende belangstelling voor het 'object-karakter' van zijn schilderijen.
De expositie Lang niet gezien: Raoul De Keyser 1946-1964-1980 grijpt plaats ter gelegenheid van het verschijnen van twee publicaties over de jonge De Keyser
Time was out of the joints when Albert Oehlen painted the first pictures at the end of the 1970s. Given German history, terrorism, "No Future", "1984" and the permanent threat of a total nuclear war, painting could no longer pretend that the world was fine. The world breaks and with it the painting. Since all symbols, signs and means had become damaged and meaningless, Oehlen shows the painting in all its questionability. How does an authentic gesture differ from a blunt reproduction, a real feeling from a disillusioned copy? Oehlen makes brittleness the basis of his images. He invents an obviously fragmented image that is as baseless as the reality it shares in. Tracks, stimuli and afterimages of reality flash stroboscopically across his canvases. For the first time, Albert Oehlen has created a room-grabbing all-over installation. Painted on large paper frames, these occupy the entire walls of the two exhibition rooms.
Dieses Buch besteht aus zwei Teilen.
Im ersten Teil entfaltet und dokumentiert Ane Hejlskov Larsen in sieben Kapiteln die sozusagen multimediale Lebenswelt Kirkebys, in welcher seine Malerei entstand: Happenings, Dichtung, Übermalungen und Film, mit teilweise bisher unveröffentlichtem Dokumentationsmaterial.
Der zweite Teil umfasst sechs Übersichten: Biographie, Bilder, Werkliste, Ausstellungen mit Presseberichten, Texte und Illustrationen, Filme und zeigt 350 Malereien, 35 Tafeln und 33 Übermalungen.
Dieses Buch macht somit erstmals eine komplette Übersicht über die entscheidende Phase von Per Kirkebys Werk zugänglich
Contemplating perception and representation with two titans of photorealism.
This publication brings together for the first time the work of New York-based artist Vija Celmins (born 1938) and Colgone-based painter Gerhard Richter (born 1932) in a transatlantic dialogue that reveals surprising connections. Their works have been paired together at the Hamburger Kunsthalle in an exhibition spanning over 60 paintings, drawings, prints and objects. This study offers comparisons between some of the artists' most notable works, including Celmins' To Fix the Image in Memory and Richter's Seascape (Sea Sea). In addition to their thematic similarities and the fact that both have worked with photographic models throughout their careers, Celmins and Richter share an interest in the most elementary conditions of representation. This revelatory pairing invokes questions of reality, visibility and the nature of perception itself.
Dale, Forza, Allez les Verts, Hopp! : une banque d'images drôle et inattendue sur le football à travers l'immense collection personnelle de Pascal Claude. Depuis plus de 15 ans, ce supporter suisse s'intéresse uniquement aux couvertures de vinyles de chansons de foot : ce livre présente un extrait de ses quelques 950 45 tours et sa centaine de Maxi 45 tours, qui chantent les louanges de clubs de football des quatre coins du monde à une époque où le vinyle, facile à presser et relativement bon marché, permettait assez simplement de sortir un titre. Ambiance garantie.
Broncia Koller-Pinell was one of the few women artists to have a presence in the international exhibitions of Viennese Modernism. By the age of twenty-seven, she was already exhibiting at the Vienna Künstlerhaus. Her greatest successes came later with the Kunstschau group founded by Gustav Klimt. By including Broncia Koller-Pinell's artistic milieu, we can trace her stylistic development from the late nineteenth-century Impressionism of the Munich School to New Objectivity in the 1920s.
A superbly curated dialogue between paintings and works on paper spanning Frankenthaler's trailblazing career.
In this volume, around 70 works on paper from the late 1940s to the early 2000s are juxtaposed with a selection of paintings--around 10 key works--from each phase in the august career of Helen Frankenthaler (1928-2011). For example, the monumental work Salome (1978) is set alongside stylistically related paintings on paper from the same year. Similarly, the watercolor Great Meadows (1951), from the collection of the Museum of Modern Art, New York, functions as a decisive precedent for the staining and dripping procedures created the following year, most famously Mountains and Sea (1952)--the key Abstract Expressionist painting in Frankenthaler's oeuvre. In some phases the medium of paper dominates, especially in the later work--abstract landscapes with a horizon as well as polychrome color fields.
The majority of the works depicted in the catalog come from the Helen Frankenthaler Foundation in New York, supplemented by private collections and institutions.
Ce catalogue, qui accompagne une grande exposition au Leopold Museum de Vienne (6 octobre 2023 - 25 février 2024) consacrée au pionnier de l'expressionnisme allemand Max Oppenheimer, jette un nouvel éclairage sur l'oeuvre méconnue et surprenante de l'artiste et ouvre son répertoire de thèmes récurrents tels que le portrait, la religion, les natures mortes, la musique ou encore les animaux.
Rediscovering the transgressive, grotesque drawings of a self-proclaimed "good-for-nothing" artist whose criminal ties cost him his life
Driven by fascination as well as contempt, Belgian artist Stéphane Mandelbaum (1961-86) produced hundreds of drawings within a short creative period of just 10 years. As a descendant of Holocaust survivors, Jewish history and persecution was often at the center of his work. His portraits, reminiscent of the strained, tortured figures of George Grosz, include renderings of Arthur Rimbaud, Francis Bacon, Pierre Goldman, his grandfather Szulim and his father Arié, but also of National Socialist criminals such as Joseph Goebbels and Ernst Röhm. He interspersed these sketches with newspaper clippings or coarse, short, disparaging phrases in Yiddish, Italian, French or German. This monograph captures Mandelbaum's haunting, deliberately provocative oeuvre, permeated by his Jewish descent, Belgium's colonial history and the seedy criminal underworld of Brussels--which ultimately claimed his life.
Friendship, loss and the everyday populate Packer's canvases, full of disquieting detail. -Adrian Searle, The Guardian.
Through a uniquely textural style of oil painting that evokes the fluidity of watercolors, Jennifer Packer recasts classical genres in a fresh political and contemporary light while keeping them rooted in a deeply personal context. Combining observation, improvisation and memory, Packer's intimate portraits of friends and family members and flower paintings insist on the particularity of the Black lives she depicts. The title of this volume refers to an ecclesiastical description of the insatiable human quest for divine knowledge; with this in mind, Packer's work urges viewers to understand and appreciate the unique dimensions of Black lives beyond just the physical. Richly illustrated, this volume includes texts by fellow painters Dona Nelson and Lynette Yiadom-Boakye, professors Rizvana Bradley and Christina Sharpe, and an interview between the artist and Serpentine Artistic Director Hans Ulrich Obrist.
American painter Jennifer Packer (born 1984) grew up in Philadelphia and received her MFA from Yale University in 2012. She was formerly the Artist-in-Residence at the Studio Museum in Harlem (2012-13) and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA (2014-16). She currently works as an assistant professor of painting at the Rhode Island School of Design. Packer is represented by Sikkema Jenkins & Co in New York City, where the artist lives.
Der Künstler selbst stellt hier das Material vor, das er auch für seinen neuen Film Drawing Restraint 9 (USA, 2005) benutzte autonome Skizzen, Zeichnungen, Skulpturen und Fotografien. Mit einer Vorliebe für fantastische Inszenierungen schafft Matthew Barney anspielungsreiche, ästhetische Bilder voller Metaphorik. Ob er dies mit Film, Skulptur, Fotographie, Zeichnung oder mit Performance tut Barney hat eine unheimliche Fähigkeit, Bilder zu schaffen, die sich in der Erinnerung einprägen. Anlässlich seiner Ausstellung in der Serpentine Gallery setzt er die Folge seiner Künstlerbücher fort. Wiederum ist es ein Autorenbuch, das die Arbeit fortführt und diese in den Kontext eines persönlichen Rückblicks auf den gesamten Zyklus stellt.
