Kunstnere, kunstmonografier

The painter Achim Freyer, who was a master student of Bertolt Brecht's, has gained an internationalreputation for his theatre works since the 1970s. However, he always remained first and foremosta visual artist, who made a systematic study of aesthetic and social issues. He escaped fromEast Germany in 1972, whereupon he changed the theatre using the visual arts as his medium. Hetook part in documenta in 1977 and 1987. Stagings like his 1988 Einstein on the Beach embody asynthesis of stagecraft and painting. This monograph is the first to focus on his complete artisticoeuvre, placing it in the context of his theatre work and collection of art. Freyer's late paintingsare a brilliant body of work powered by his undimmed creativity.Achim Freyer, b. 1934 in Berlin, is a visual artist, theatre- and film-maker, university lecturer, collector,and benefactor. Johannes Odenthal, b. 1956 in Cologne, is an art historian and archaeologist.From 2006 to 2022, he was head of programming at the Akademie der Kü nste in Berlin.

Argentinian artist Adrian Villár Rojas's artist's book The End of Imagination, a dystopian graphicnovel, weaves together three stories: The Last American, a futuristic novel by John Ames Mitchellfrom 1889; The Last Joke on Earth, an essay about the end of the world that Rojas himself wrotein 2011; and images taken from the 1928 animated short Steamboat Willie, the first Mickey Mousefilm to be set to music.This montage of literature and cartoon pictures takes readers on a journey in the company of ahand-drawn Mickey Mouse, navigating the margins of a photocopied edition of The Last American,while the story of the last humans on earth unfolds.The Last American and Steamboat Willie have something in common: both are out of copyright,which means that they have become a commodity. The artist's book thus also examines how wecan continue working with the wealth of material that has already been produced.Adrian Villár Rojas is an Argentinian sculptor and installation and video artist.

Pan Daijing devises performances and exhibitions as Gesamtkunstwerke, total works of art inwhich architectural intervention, light, sound, and movement interact to tell stories that go beyondlanguage. Her haunting compositions for voice and electronic instruments combine opera andnoise music. Mute-in which the artist and composer examines silence and liveness-is Pan'sbiggest solo exhibition to date. This monograph is published in conjunction with the exhibitionand in collaboration with Tai Kwun Contemporary is the first comprehensive presentation of Pan'swork in the dynamic zone straddling music and visual art.Pan Daijing, b. 1991 in Guiyang, China, lives as an artist and composer in Berlin. She is one of thewinners of the prestigious Preis der Nationalgalerie 2024. Sarah Johanna Theurer, b. 1988, is acurator, whose focus is on time-based arts and techno-social entanglements. She is currentlyworking in the Haus der Kunst in Munich.

US artist Heather Sheehan, who has lived in Cologne since the mid-1990s, combines elements of performance, textile sculpture, installation and video art, analog black and white photography, poetry and narrative in her work to explore and present individual mythology.For her project Sylta, the whaler's widow who cries (2020-2024), the artist combined a sequence of 40 black and white self-portraits, a short story and the costume she sewed herself into a visual and verbal narrative. Isolated with an analog camera and typewriter in a thatched house on the coast of an island in the Wadden Sea of the North Sea, Sheehan felt herself transported into the role of a pregnant widow of a whaling captain. In the short story Ich bin Sylta, she reveals the startling synchronicity of experiencing fiction during the creative process.

Part look-book, part memoir, and part history, this beautifully illustrated monument to a singular designer who helped inspire the growing Indigenous fashion movement is also a powerful demonstration of the enduring resonance and possibilities of Haida art.Inspired by a discussion with celebrated Haida artist Bill Reid, Haida designer Dorothy Grant made it her life’s mission to bring her culture’s traditional art into contemporary fashion while adhering to the principle of Yaguudang, or respect for oneself and others. The 1989 launch of her Feastwear collection, featuring modern silhouettes hand-appliquéd with Northwest Coast formline, immediately established her at the forefront of Indigenous fashion in North America, and she has since hosted runway shows and trunk sales from Paris to Vancouver to Tokyo. Her clients include Indigenous leaders, national politicians, and global celebrities, and her garments can be found in museums and galleries around the world, including the Metropolitan Museum of Art.Dorothy Grant: An Endless Thread is the first monograph to celebrate her trailblazing career. It features new photography of dozens of garments spanning the past four decades, modeled in studio and natural settings in Vancouver and Haida Gwaii, alongside sketches, traditional button robes and spruce-root weaving, and personal stories and reflections from Grant. Essays by Haida repatriation specialist and museologist Sdahl Ḵ’awaas Lucy Bell and curator India Rael Young place Grant in the long continuum of Haida fashion and trace the many innovations and accomplishments of her journey, and Haida curator and artist Kwiaahwah Jones, a longtime assistant to Grant, shares behind-the-scenes insights and memories. An associated exhibition, Dorothy Grant: Raven Comes Full Circle, opens at Haida Gwaii Museum in July 2024.

"The first book dedicated to the art of DY Begay (Dinâe), featuring 80 stunning tapestries and essays exploring her life and legacy"--

A groundbreaking look at the life and art of one of the most influential, modern painters of the late nineteenth century and founder of the Impressionist movement “Wullschläger emerges with a strikingly different picture of the artist. Passionate, prickly, edgy and unstable, her Monet, the unrecognizable Monet, is a powerful new character in art.” —The Sunday Times (London)Drawing on thousands of never-before-translated letters and unpublished sources, this biography reveals dramatic new information about the life and work of one of the late nineteenth century’s most important painters. Despite being mocked at the beginning of his career, and living hand to mouth, Monet risked all to pursue his vision, and his early work along the banks of the Seine in the 1860s and ’70s would come to be revered as Impressionism. In the following decades, he emerged as its celebrated leader in one of the most exciting cultural moments in Paris, before withdrawing to his house and garden to paint the late Water Lilies, which were ignored during his lifetime and would later have a major influence on all twentieth-century painters both figurative and abstract.This is the first time we see the turbulent life of this volatile and voracious man, who was as obsessed by his love affairs as he was by nature. He changed his art decisively three times when the woman at the center of his life changed; Wullschläger brings these unknown, passionate, and passionately committed women to the foreground. Monet's closest friend was Prime Minister Georges Clemenceau; strong intellectual currents connected him to writers from Zola to Proust, as well as to his friends Manet, Renoir, and Pissarro. Brilliant and absorbing, this biography will forever change our understanding of Monet's life and work.

Huang Pin-hung (1865-1955) occupies a very special position in the history of modern Chinese art. The art of Huang Pin-hung demonstrates the persistence of tradition and the limits of continuities as well as changes in modern Chinese culture. The period during which he lived and worked was marked by turbulent changes in China's cultural and political landscape. Like many intellectuals of his generation, he was deeply concerned with the question of "old" versus "new," and his voluminous writings on art frequently discuss the relationship between tradition and innovation. This concern is reflected throughout his long career as an artist, as he constantly sought to break new ground and to explore new creative territory within the parameters of the Chinese ink-painting language. One of the most outstanding aspects of Huang's career is his late maturity as an artist. While he began his training at an early age, his immense talent only came to full bloom during the last fifteen years of his life. Yet, because of this late maturing, his late paintings are imbued with the concentrated power of a lifetime of artistic creation, and possess an internal richness and complexity that is truly inimitable. Through a discussion of his transformation of tradition, in particular his late work, this book hopes to suggest how his late work embodies the vitality and potentiality for renewal of the Chinese cultural tradition. This is a revised and updated version of the first edition (April 2004), which includes research based on essential new materials: the proceedings of an international conference on Huang Pin-hung organized by the China Academy of Art Research in Beijing, the correspondence between Huang Pin-hung and his contemporaries (publisged in 2005), and the catalog of the major exhibition of Huang Pin-hung's works at the Che-chiang Museum in July of 2004.

Exquisitely detailed drawings offer a “field guide” to ubiquitous but overlooked elements of Vancouver’s urban landscape.Three series of intricate graphite drawings depict, with arresting realism, real-world examples of assembled, grown, and built objects common to distinct milieus of Vancouver: the shopping carts piled high with belongings that clatter along sidewalks in the downtown core; the long, high hedges that insulate single-family homes from the din of arterial traffic; and the sculptural lions placed for good luck atop fenceposts in front of many homes, especially on the city’s east side.In creating snapshots and then laborious drawings of these objects, Taizo Yamamoto, the principal of Yamamoto Architecture, was driven by a fascination with how the recurrence of these seemingly mundane objects speaks to omnipresent issues of housing unaffordability, densification, and the aspirations of diasporic communities—concerns that have an uneasy relationship to celebrated narratives of Vancouver but play a prominent role in residents’ everyday lives. To this work he brings not just sustained careful attention but an architect’s eye for details both structural and textural, resulting in immersive, richly nuanced drawings.New essays and fiction from three authors engages the work through prose: Aaron Peck, author of Jeff Wall: North & West (2015), interprets the shopping cart drawings as an appreciation of “ephemeral architecture” and sees affinities to work by Walker Evans and Hilda and Bernd Becher; a short story by Giller Prize–nominated author Kevin Chong (The Double Life of Benson Yu, 2023) imagines the lives behind the hedges; and Jackie Wong, senior editor of The Tyee, reports on the origin, production, and symbolism of the many lions dotting the city.

"(...) Die Schönheit des Schachs kommt derjenigen in der Poesie nahe. Schachfiguren sind ein Alphabet, das Gedanken formt, und diese Gedanken drücken sich abstrakt durch das visuelle Design aus, das auf dem Schachbrett entsteht, genauso wie in der Poesie... Nach Jahren der Nähe zu Schachspielern und Künstlern kann ich ehrlich sagen, dass nicht alle Schachspieler Künstler sind, während nicht alle Künstler Schachspieler sind."(M. Duchamp)

Judith Mariner's life is a portrait of non-conformity and unique experiences. She wasn't like the other girls in the '40s. She reveled in the outdoors and played with the boys. She discovered yoga and vegetarianism long before they became fads. She faced abuse of every kind and a feeling of "not enoughness" with everything she attempted. In high school, she taught herself to play tennis and became the state champion-twice. Through tenacity and conviction, she followed her artistic passions from the streets of Venice, Italy, to the barrios of Tucson, Arizona. She didn't care where she lived or how she made money, as long as she could paint and provide for her children. No matter what obstacles she faced, she found a way to survive and thrive, never losing the fire in her belly.

Hannover - Mont Ventoux Avec Christian Ratschlag, son lauréat 2023, le PRIX SPRENGEL poursuit sans dévier dans la nouvelle direction engagée en 2021. Lancé par Bernhard et Margrit Sprengel en 1979, la responsabilité en a été transférée à la fondation de la caisse d'épargne de Basse-Saxe Niedersächsische Sparkassenstiftung en 1991 et il est géré et attribué conjointement par la Niedersächsische Sparkassenstiftung et le ministère de la science et de la culture (MWK) de Basse-Saxe depuis 2021. Le changement d'orientation est lié à une forte augmentation de la dotation financière, mais aussi et surtout à la bourse de voyage en Europe qui est désormais associée au prix, avec une exposition au musée Sprengel de Hanovre et la publication d'un catalogue. L'intention derrière l'attribution, justifiée par la longue et riche histoire des échanges culturels entre les peuples, de la bourse de voyage qui fait partie intégrante du concept de prix et d'exposition est l'ancrage de la Basse-Saxe dans l'Europe et de son idée spécifique d'un ordre social libéral-démocratique.   Exposition : Sprengel Museum Hannover,  18/11/2023 - 3/3/2024

Pensées et sentiment ! Louisa Clement s'intéresse dans son travail à la question de la présence humaine dans l'artificiel ou, le cas échéant, à la présence de l'artificiel dans l'humain. Elle a d'abord fait sensation avec son oeuvre « Représentantes » (Repräsentantinnen) (2021) où elle fait intervenir 10 clones robotisés qui, en plus d'une ressemblance parfaite avec elle, disposaient par le biais de la technologie d'un accès à toutes les informations et données personnelles la concernant. L'IA leur permettait d'imiter l'artiste et de la reproduire le plus fidèlement possible jusqu'à en devenir les revenants, pourtant dotés chacun d'une vie propre. Louisa Clement a aussitôt été élue à l'unanimité pour le prix d'art de la ville de Bonn 2023 : « Malgré sa jeunesse, l'artiste Louisa Clement a déjà créé une oeuvre à la force et la cohérence exceptionnelles... et a convaincu [le jury avec son] projet [inédit] qui se situe à la jonction de l'art et de la science, tout en traitant des sujets d'actualité brûlants tels que le rapport entre l'homme et l'intelligence artificielle, l'individu et l'algorithme, l'expérience et le flux de données. » Pour l'exposition au Kunstmuseum de Bonn (22.2-16.6.2024), elle développera et perfectionnera son travail actuel intitulé « Compression » (2023), une capsule métallique de 2 cm de haut qui contient un ADN synthétique généré à partir des jeux de données tirées de l'oeuvre complet de l'artiste jusqu'à aujourd'hui et doit le conserver pendant 1000 ans.

The book documents the German climate movement in an era in which the global climate crisis is an ever-present topic. It tells the story of people who put their ideals first and cross moral and legal boundaries to campaign for more climate protection.For this project, photographer Tenzin Heatherbell delved deep into the world of climate activists: he participated in events, attended court hearings, met the activists in private during their preparations and after their actions. With his camera, Heatherbell was there every step of the way, becoming part of the inner circle while remaining a detached observer. He witnessed how more than 3,000 police officers removed climate protesters from Lützerath who had been occupying the village to prevent the expansion of the nearby open-cast mine. The photographer captured over forty of the Last Generation's highly controversial actions staged at museums, on highways, bridges, and airports.Supplemented by personal impressions and essays, Heatherbell has created a photographic portrait that provides insights into a world that is inaccessible to many people. His intimate look behind the scenes of the climate movement allows us to see other images than those supplied by the mass media. He explores the activists' motives and their rage at what they regard as the inertia of politics and society.

Auto und Küche prallen in Lena Henkes Ausstellung "Good Year" im Museum Marta Herford aufeinander und stellen kleinbürgerliche Ideale, Markenversprechen und Heimatdefinitionen auf das Tablett. In der raumgreifenden Rauminstallation P7340LH adaptiert Henke eine von Poggenpohl in Kooperation mit Porsche-Design auf den Markt gebrachte Küche und presst Reifen in die Rasterordnung einer Küchenzeile.Als "Manual" erweitert der Künstlerkatalog die Bildwelten dieser Pole zwischen Lifestyleästhetik sowie Fragen von Prägung, Identität und Rollenbildern. Das produktive Arbeiten mit Recherchematerial und seine Umsetzung in Comics oder Collagen ist Teil von Henkes vielschichter Praxis, die sich von der Bildhauerei in weitere Dimensionen zieht und dabei stark vom räumlichen und umweltorientierten Denken geprägt ist.Lena Henke wurde 1982 in Warburg geboren, sie lebt und arbeitet in Berlin und New York. Sie ist die 5. Preisträgerin des Marta-Preis der Wemhöner Stiftung

Charlie Prodger works across moving image, writing, sculpture, drawing and printmaking. Through the prism of queer subjectivity, her work explores intertwined relations between the body, landscape, language, technology and time. To accompany her exhibition and the presentation of the complete film trilogy-Stoneymollan Trail, BRIDGIT, and SaF05-a book with a substantial essay by Sarah Hayden is released in Secession's publication series. The London-based author and professor of literature and visual culture analyzes the significance of voice and voiceover in Prodger's video works. For the book, the artist has created a series of image pairings of production photos and video stills from the final part of the trilogy, SaF05.

Die Fotoserien "Connoisseurs & Academies" von Karen Knorr lösen ein Kaleidoskop von Erinnerungen aus: Die zwischen 1986 und 2005 mit einer analogen Kamera aufgenommenen Bilder lassen uns in die komplexe Welt der Geschichte von Museen und Herrenhäusern, von Objekten, Gemälden und Kennerschaft sowie von Akademien eintauchen. DieVerwendung von Tieren als allegorisches Motiv ist heute fester Bestandteil von Knorrs Praxis, doch tauchen sie erstmals in "Connoisseurs" auf, wo ein Schimpanse zum Genius of the Place wird.Knorrs (* 1954) Werke befinden sich unter anderem in den Sammlungen der Tate und des Victoria & Albert Museum, London, des Musée d'Art Moderne de la Ville de Paris und des Centre Georges Pompidou, Paris, des SFMOMA, San Francisco, des National Museum of Modern Art, Kyoto, und des Museum of Art and Photography (MAP) in Bangalore.

Den første monografi nogensinde om keramikeren og kunstneren Bodil Marie Nielsen (f. 1942) – med kunstnernavnet Bodil Marie. En nærgående og medrivende fortælling om en kunstner, der som det eneste kvindelige medlem af 1960’ernes toneangivende danske kunstnergruppe, Den Eksperimenterende Kunstskole, personificerer vilkårene for kvinder i en mandsdomineret kunstverden i det sidste halve århundrede. Bodil Marie tilhører den store gruppe af kvindelige kunstnere fra sin generation, som på trods af et ubestrideligt talent kom til at stå i skyggen af deres mandlige kolleger i samtiden og siden blev overset af institutioner og kunsthistorie. Det håber vi, at bogen kan være med til at rette op på.

Als ein Pionier des Neoexpressionismus der 1980er und ein Künstler, der den als Neue Wilde bekannt gewordenen Malern wichtige Inspirationen lieferte, ist Hödicke am besten für seine mehrfarbigen Darstellungen von Berlin bekannt, in denen Menschen, Landschaften und Architektur eine fast folklorehafte Qualität erlangen. Der Katalog dokumentiert circa 40 zwischen Mitte der 1960er und 1990er geschaffene Gemälde und Skulpturen, darunter Werke, in denen Hödicke Westberlin zur Zeit der Teilung porträtiert.Text: Hans Ulrich Obrist.

Portraits de chevaux en Noir et Blanc, Nouvelle-Calédonie

Renowned for his depictions of self, which early in his career were often purely symbolic-most famously in the form of a bathrobe or a set of tools-Jim Dine reveals in Last Year's Forgotten Harvest another portrait of sorts, providing the viewer both with insight into his deep commitment to drawing and to the individuals in his orbit who have helped shape him. Presenting nearly seven decades of drawing, from 1957 to the present, Last Year's Forgotten Harvest demonstrates the deep fusion between Dine's practice and those who have long been part of his world. In the artist's words: "Besides being a diary, having the quality of a diary, the exhibition is essentially about drawing." Present here, then, are members of Dine's family. His wife photographer Diana Michener appears in multiple, heavily worked portraits. Images of close friends and fellow creatives move throughout the publication, including drawings of artist Susan Rothenberg, printer Aldo Crommelynck, poet Robert Creeley, and printer and publisher Gerhard Steidl, with whom he created this book. The blemishes, wrinkles and even stains that imprint themselves upon skin similarly appear upon the surfaces of Dine's drawings as he encounters and grapples with his subjects over time. Providing a poignant reflection upon a career characterized by digesting the world through making, Dine concludes: "This is what I'm left with. I'm left with drawing."Co-published with the Bowdoin College Museum of Art, BrunswickExhibition: Bowdoin College Museum of Art, Brunswick, 7 December 2023 to 2 June 2024

An electroacoustic, olfactory, and textual project by artist Florian Hecker.Florian Hecker is an artist whose work is realized through the technical manipulation of sensory data. By utilizing machinic scales and registers, Hecker creates environments marked at once by overwhelming complexity and vexing subtlety, where audience members are led to dwell on the outer limits of their own perceptual capacities.Resynthesizers took place in Laurel Canyon, Los Angeles, in the Fitzpatrick-Leland House, a tri-level residence designed by Rudolf Schindler and built in 1936. Centered around a trio of compositions produced using a novel algorithm for texture synthesis, the exhibition also featured three olfactory accords selected by Marc vom Ende and Philip Kraft of Symrise, and three electrophoretic displays transmitting a libretto by Robin Mackay.The molecular construction of sensory experience enabled by the technical manipulation and synthesis of materials emerges as a central theme of Resynthesizers. The regime of these ‘immaterials’ disjoins sensation from inherited conceptual models, and in the encounter with its resyntheses we are challenged to reintegrate sense and formulate new concepts.Designed by NORM, Zurich, this meticulously assembled document features exhibition documentation by Fredrik Nilsen Studio and data visualizations by Axel Roebel alongside essays by Wendy Hui Kyong Chun and Alex H. Barnett, Marc Vom Ende and Philip Kraft, Robin Mackay, and Luciana Parisi.

"Chopin: The Man and His Music" is a book written by James Huneker, a music critic and writer who lived from 1857 to 1921. The book is a biography of Frederic Chopin, a Polish composer and pianist who lived from 1810 to 1849. Huneker's book provides readers with an in-depth look at Chopin's life, his music, and his impact on the world of classical music.The book is divided into two parts. The first part of the book is a detailed biography of Chopin, covering his childhood in Poland, his move to Paris, and his relationships with important figures in the music world, including Franz Liszt and George Sand. Huneker also discusses Chopin's struggle with illness and his untimely death at the age of 39.The second part of the book is a detailed analysis of Chopin's music. Huneker provides readers with a detailed look at Chopin's compositions, including his preludes, nocturnes, and waltzes. Huneker's analysis is both informative and insightful, providing readers with a deeper understanding of Chopin's unique style and musical genius.Overall, "Chopin: The Man and His Music" is a must-read for anyone interested in classical music, music history, or the life and works of Frederic Chopin. Huneker's writing is engaging and informative, making this book a valuable resource for music lovers and scholars alike.

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This new book is first of two books to be published about the music business a collection of subjects previously released as ebooks. This book is the result of my 35 years in the business of music. Over those 35 years I have written, collected and reflected on what I feel is necessary and critical subject material for anyone interested in the music business. I assure you if you have or are interested in a career in the music business you will learn and hopefully succeed in this business by reading my books.