Kunstnere, kunstmonografier

Det er en helt ny måde at fortælle byens nyere historie: Gennem karikaturtegninger. Aarhus fik en flyvende start i det nye årtusinde, og med de mange planer, projekter og beslutninger, kunne man let tabe pusten: Nu staves byen igen Aarhus, og vi fik Kunstmuseet AROS, en ny havneby, Det Nye Universitetshospital, nye bykvarterer, et udvidet Musikhus, Moesgård Museum, Marselistunnelen og meget mere. En del er realiseret, mere er på vej, og resten ligger i læ og venter på, at finanskrisen driver over. Det kan være svært at huske, men Rasmus Sand Høyer fastholdt i en årrække i JP Aarhus begivenhederne med sine morsomme tegninger af det aarhusianske univers. Det er hverdagskunst, der både masserer hukommelsen og kalder smilet frem. I samarbejde med kunstneren bringes ca. 125 af hans bedste tegninger, og historien om Randers-drengen Rasmus, der er smilets tegner i smilets by, fortælles.

På baggrund af Erik Hagens’ store frise Esbjergevangeliet, som er en moderne fortolkning af Bibelen, har Egon Clausen skrevet en kritisk, polemisk og humoristisk almanak om det moderne bylivs udfordringer og skyggesider. Hver af de 365 tekster ledsages af en detalje fra Esbjergevangeliet. Erik Hagens, født 1940, er uddannet fra Kunstakademiet og Eks-skolens trykkeri. Bag sig har han utallige soloudstillinger og udsmykningsopgaver. Egon Clausen, født 1940, er tidligere programmedarbejder ved P1 og har skrevet en lang række bøger om især politiske og religiøse emner.

Ansigter bryder frem af bivoks. Byer forgrener sig i ukendte verdener. Kroppe spirer, bliver til svampe, gror til med muslingeskaller. Bjørneklo, døde bier og medicinemballage blander sig med polystyren, bronze, gips og ler i de vildtvoksende kunstværker. Verden, som vi kender den, ophæves og sættes sammen på ny.Emil Westman Hertz (1978-2016) arbejdede som billedhugger, tegner, grafiker og fotograf. Ubesværet flettede han de forskellige udtryksformer ind og ud mellem hinanden til levende og bevægelige værker, vævet sammen i et univers af febervildelser og forestillingsverdener og båret af en stærk fortællekraft.Emil Westman Hertz. Altid forandret præsenterer den kompromisløse kunstner og hans særegne metoder og strategier. Med afsæt i blandt andet kunsthistorie, antropologi, økokritik og shamanisme tegner bogens forfattere for første gang et samlende billede af et altid foranderligt kunstnerskab.

Mie Olise Kjærgaard erobrer et kunstnerisk territorium, som er dybt forbundet med ideen om macho-kunstneren: ekspressivt, figurativt maleri i store formater. Hendes flere meter store lærreder er komponeret med en stormfuld penselføring, som emmer af vildskab og kraft. Æstetikken er ikke feminin i nogen traditionel forstand – tværtimod – hendes projekt synes nærmere at være at erobre nyt territorium for det kvindelige. At udvide billedet af feminint råderum i retning af et vildt, energisk felt, som hun overbevisende bemestrer og gør til sit eget. I sit maleri digter hun en ny historie for kvinder. En historie som taler direkte ind i vor tid, hvor en ny generation af kvinder tager mikrofonen og insisterer på en plads i den offentlige samtale. Netop fordi hun er maler, formår Mie Olise Kjærgård at bringe historien ud i et abstrakt rum, som også taler ud over sin tid. Hendes billeder er absolut nutidige, men foregår samtidig i en parallel ikke-tid, som er maleriets. Et abstrakt malerisk rum, hvor vikingeskibe, tennisketchere og fabeldyr vikles ind i hendes historie om den nye kvinde.

Julian Schnabel macht Kunst aus dem Leben und findet seine Materialien in der Struktur des Alltags. Er verwendet zerbrochene Teller als unpraktischen Bildgrund, malt auf Samt, Planen von Marktständen und Armeefahrzeugen, Kabuki-Theaterkulissen oder dem Boden eines Boxrings - Oberflächen, die ihre jeweils eigene Geschichte in das Bild mit einbringen. Der Erfolg kam für Schnabel über Nacht mit seiner ersten New Yorker Einzelausstellung im Jahr 1979 und seitdem ist sein Name ein Synonym für die Rückkehr der totgesagten Gattung der Malerei in die zeitgenössische Kunst. Dabei hat er in einer Vielzahl von Medien gearbeitet: Seine Skulpturen erweitern die malerischen Formen der Bilder als grob gehauene, scheinbar abgenutzte Artefakte in den Raum. Als Regisseur von preisgekrönten Kinofilmen portraitiert er Künstler wie Basquiat, van Gogh und andere subtil-heroische Figuren. Und er baut seinen eigenen Traum von einem venezianischen Palast mitten in New York. "Ich möchte, dass mein Leben in meinem Werk steckt, komprimiert in meiner Malerei wie ein Auto in einer Schrottpresse. Sonst wäre meine Arbeit nur irgendwelches Zeugs", sagt Julian Schnabel. Diese Dringlichkeit zieht sich durch sein Schaffen, ganz gleich, welche Mittel oder Medien der Künstler wählt. Jetzt als unlimitierte Ausgabe erhältlich, stellt diese TASCHEN-Monografie die ganze Palette von Schnabels Arbeiten vor. Das Buch wurde in enger Zusammenarbeit mit dem Künstler geschaffen. Die Texte steuern Freunde, Kuratoren und Kunsthistoriker bei, mit denen Schnabel schon zuvor an Projekten gearbeitet hat: Laurie Anderson zeichnet ein vertrauliches Porträt des Künstlers; Éric de Chassey widmet sich den Gemälden, Bonnie Clearwater den Skulpturen und Max Hollein der ortsspezifischen Arbeit; Donatien Grau schreibt über den Palazzo Chupi, das vom Künstler selbst entworfene Haus im New Yorker West Village; der Schriftsteller Daniel Kehlmann taucht in das filmische Werk ein. Mit diesen Texten und hochwertigen Werkabbildungen macht das Buch Schnabels Kunst auf eine direkte Weise erlebbar, wie es sonst nur in der persönlichen Begegnung mit den Werken möglich ist.

A radical artist and pioneer of Arte Informale, bearing witness to events that left their mark on the centurySelf-taught Italian painter Emilio Vedova (1919-2006) is known for his raw, visceral and historically informed works that reflect strong political convictions. His dark, expressive compositions are titled after tumultuous movements from his lifetime: from the Prague Spring to the Years of Lead.

Two decades of intricately layered works on paper from an artist known for his contemporary still lifesComprising 100 works on paper, Drawings: 2003âEUR"2023 is the most expansive collection of Jonas Wood's artistic practice to date. This body of work traces the artist's trajectory back to his early days in Los Angeles, where he worked alongside painter Laura Owens and sculptor Matt Johnson. It was during this formative period that Wood's distinct visual language began to take shape: a language that would come to define his mature practice. Drawing played a central role in Wood's process, serving as both preparatory sketches for his collages and paintings, as well as independent works of art in their own right. At the core of Wood's prolific output lies a deep appreciation for the handmadeâEUR"a reverence reflected in his engagement with found photographs, manual projectors and half-erased pencil sketches. Although rendered in a flattened perspective, the resulting tableaux are deeply layered, revealing traces of the artist's hand, miscellaneous references and the transformative nature of various artistic media. The comprehensive catalog features an essay by Douglas Fogle and a conversation between Laura Owens and the artist. The Los Angeles-based artist Jonas Wood (born 1977) creates paintings, drawings and prints, which mostly comprise intricate still lifes and interior domestic scenes. Throughout his compositions, the artist draws from art history, memory, and the people, objects and interiors that comprise his life. His work is boldly colored, detailed and graphic, and often features basketballs, ceramics and lush plants.

Eat More Plants. A Chef's Journal is a collection of Daniel Humm's drawings and handwritten thoughts charting the re-imagination of his acclaimed three-Michelin-Star restaurant Eleven Madison Park as wholly plant-based in 2021. Shaped by the seasonality underlying Humm's cooking, the book is structured into a section each for spring, summer, fall and winter. His drawings are spontaneous and painterly, celebrating the bounty of predominantly local fruits and vegetables that inspires his creations-from familiar characters such as the carrot and cherry to the more exotic elderflower and matsutake mushroom. On the back of the drawings Humm has written notes on the ideas, beliefs and uncertainties behind his decision to re-invent (and risk) the 25-year story of Eleven Madison Park: "Our cooking should not conform to society, it should be a resolution / Most days we see endless possibility, some days fear clouds our vision / This isn't just an artistic experiment, it's our livelihood." The result is a revealing visual diary of a chef dedicated to pro-planet values as the basis of fine dining, and the liberating realization that following traditions had been his greatest limitation.

Ende der 1910er-Jahre legte der dänische Illustrator Kay Nielsen letzte Hand an seine Illustrationen zu Tausendundeine Nacht. Seine Bilder gelten heute als Meisterwerke der Jugendstilillustration: Sie bersten vor satten Blau- und Rottönen und Blattgold, und sie beschwören den ganzen Zauber dieser legendären Sammlung persischer Volksmärchen herauf, die zwischen dem 8. und 13. Jahrhundert zusammengetragen wurden. Aufgrund finanzieller Engpässe in den Nachkriegsjahren nahm der Verlag dann aber Abstand von diesem Projekt, und die atemberaubenden Bilder in Tusche und Wasserfarben zu diesem Klassiker des Weltkulturerbes blieben zunächst vierzig Jahre lang unter Verschluss. Die Illustrationen, die nur ein einziges Mal in einem längst vergriffenen Buch veröffentlicht worden waren, wurden erst kurz vor Nielsens Tod 1957 der Vergessenheit entrissen und befinden sich heute in der Grunwald Center Collection im Hammer Museum von Los Angeles sowie in zwei Privatsammlungen. Unsere Publikation ist eine einzigartige Zusammenstellung von Kunstdrucken und bestechend schönen Illustrationen, direkt von Nielsens Original-Aquarellen reproduziert - dem einzigen noch vollständig erhaltenen Satz. Das Buch enthält Beschreibungen aller Bilder und drei illustrierte Essays zur Entstehung der Serie, zum Ursprung von Nielsens einmaliger Bildwelt und zur Geschichte der Erzählungen. Zusätzlich enthält es viele unveröffentlichte oder nur selten zu sehende Illustrationen sowie komplexe Schwarz-Weiß-Zeichnungen, die Nielsen einst für die ursprüngliche Publikation vorgesehen hatte.

A highly illustrated history of the Wars of the Roses based on the medieval art of Graham Turner.The period of civil strife in the second half of the 15th century known as the Wars of the Roses is one of the most dramatic in English history. It is rich with political events, outstanding protagonists, battles and campaigns, and culminates in the defeat of Richard III, brutally killed at the battle of Bosworth in 1485, and the rise to the throne of the House of Tudor.Since first being inspired by a visit to Bosworth battlefield over 25 years ago, renowned historical illustrator Graham Turner has built a worldwide reputation for his renderings of this colourful and intense era. This new study contains a unique and comprehensive collection of his paintings and drawings, which provide meticulously researched details of arms, armour and settings, while at the same time bringing to life the human stories behind the turbulent events. Fully illustrated with artwork and prints prized by historians and collectors for their dramatic and atmospheric compositions, The Wars of the Roses is an unmissable visual tour which showcases the technical, contextual and human facets of one of England's most dramatic historical periods.

"This book should be seen as a diary filled with writings, poetry, cut-outs, collages, photographs, and drawings printed on the stationary papers which keep the memory of my journeys." Marina Abramovic Never before published, this self-curated, intensely personal collection of travel notes and sketches by the world's most revered performance artist offers readers a kind of iconography of Abramovic's daring and utterly original body of work. An artist's notebooks are arguably the most authentic means of understanding her process, techniques, and impulses. And, for a performance artist, a rare, permanent record of how she develops her craft. Compiled over the course of four decades on stationery from various hotels, and other temporary residences, this collection of Marina Abramovic's original drawings, collages, poetry, writings, cut-outs, photographs and doodles offers glimpses of a brilliant mind in constant motion. Beautifully produced and packaged, it takes readers on a journey through Abramovic's thoughts-and traces the evolution of the most fruitful phase of her career. "My home was everywhere I went because my home was my own body." With the archival material elegantly reproduced in their original size on high-quality paper, this collection offers Abramovic's enormous fanbase unprecedented access to her creative process.

With a career spanning more than sixty years, the renowned painter Gerhard Richter is one of the greatest artists of the twentieth and twenty-first centuries. This book celebrates the artist's continued dedication to experimentation and innovation. The Abstract Pictures were created when Richter, a few years ago, poured colored enamel paints onto a glass plate and allowed them to flow into one another in order to take shapes. He then captured these ephemeral moments with his camera and selected 100 of these "pictures" for inclusion in the book alongside equally abstract texts formed by randomly generated letter combinations. An artwork of its own, this intimate volume inspires both close looking and a beautiful interpretation of abstraction.

"Corita Kent, formerly Sister Mary Corita, is known for her exuberant, colorful serigraphs and her teaching, as evidenced in her lively art classes. As a Catholic nun from 1936 until 1968, Corita lived and worked in the Immaculate Heart of Mary community in Los Angeles. She taught lettering and layout, image finding, and art structure for 20 years in Immaculate Heart College's art department. There, she screened multiple films simultaneously, hosted guest thinkers including Saul Bass, Buckminster Fuller and John Cage, and guided the making of large-scale collaborative projects with students. Corita regularly took her students out for looking sessions at a used car lot or an art exhibition. While constantly looking and discovering visually, Corita shot thousands of 35 mm slides documenting references, the IHC milieu and the art department processes. For Corita, the vernacular environs of advertising, supermarkets and the city's media landscape were a source of inspiration and raw material. Her slide collection encompasses a wide range of subjects: cookies, coke bottles, toys, presents,experiments, projects, Mary's Day celebrations stemming from Corita's classroom, flowers, magazines, seeds, puppets, visits with Charles and Ray Eames, street signs, trade fairs, folk art, boxes, billboards and kites. Drawing from the Corita Art Center's vast slide collection, Ordinary Things Will Be Signs for Us embodies Corita's philosophy of looking"

The definitive biography that unlocks the remarkable story of Vivian Maier, the nanny who lived secretly as a world-class photographer, featuring nearly 400 of her images, many never seen before, placed for the first time in the context of her life.

Mørke og død spiller en central rolle i Rose Ekens nye kunstmonografi Shrine, der samler hendes arbejde fra de seneste fem år. En smadret lysekrone, glaserede urner, dildoer, tarotkort og visne blomster. De seneste fem år har kunstner Rose Ekens motiver ændret karakter. De farverige, keramiske installationer er erstattet af sorte elementer og en stemning af forfald. En udvikling der er tæt forbundet med de globale kriser og begivenheder i Ekens eget liv.“Vi bærer alle sammen på et mørke, hvad enten det er personligt funderet eller en konsekvens at ydre omstændigheder. Men de mørke tanker er et tabu, der bliver gemt væk og undertrykt. På et tidspunkt bliver vi nødt til at vælge mellem at fare vild i smerten eller få styrke fra såret,” siger Rose Eken.Heavy metal og heksekunstRose Ekens arbejde med de mørke hjørner af kulturen - fra smukke, giftige planter til buster med heavy metal-hoveder, heksekunst og sort magi - tager afsæt i Ekens egen forbindelse til musik som goth og black metal.”I en tid med internetdrevet monokultur er det vigtigt at åbne op for mørket – ar, traumer, sorg, frygt, død og endda ondskab. Temaer der er vigtige, hvis vi vil erkende os selv. Jeg har forsøgt at skabe et rum for mørket og døden,” siger Rose Eken.Kunstnermonografien Shrine er en gennemgang af Rose Ekens værker fra 2018 til 2022 suppleret af essays af kunstkritiker og kunsthistoriker Maria Kjær Themsen samt den britiske kunstkritiker og forfatter Jonathan Griffin og PhD i filosofi Heine Hansen.Om Rose EkenKunstner Rose Eken (f. 1976) har udstillet flere steder i USA, Europa og Danmark. Hun er uddannet fra Royal College of Art i London i 2003, og er i dag repræsenteret af V1 Gallery i København og Charlotte Fogh Gallery i Aarhus. Fere af Rose Ekens hovedværker indgår i samlinger på bl.a. Vejen Kunstmuseum, Horsens Kunstmuseum, Museum CLAY og ARoS Kunstmuseum.Papir: 170 gr. Galerie Art Gloss, 120 g. Munken Polar Rough

""I was a writer, but not the writer I needed to be. For that I had to become a different person," Robert Glèuck, widely acclaimed as a novelist and as a theorist of "the new narrative," recently told the Paris Review, in which a section of About Ed has appeared. About Ed is Glèuck's portrait of the artist Ed Aulerich-Sugai, his sometime lover, met in the seventies in San Francisco, when gay life emerged unabashedly from the closet. "I wanted to find in Ed something to latch on to that was outside my egotism and fear, my threadbare relation to the world-a leap through Ed into lyric time," Glèuck has said, and in this book that is both "a novel and my version of an AIDS memoir" he wanted to capture the full range of his feelings for Ed: "estranged from Ed, bored by him, moved by him." It is a book about the life they lived together-art and writing and family and sex and death-and, composed over many decades, it is also a book about how the past continues to change in memory and to charge the present. "What is the right question to ask about a life?" Glèuck asks, describing About Ed as a "collaborative project," since "Ed helped me write this book." Ed gave him "notes to fashion a chapter about the day he was diagnosed so I could describe his experience from the inside," and "after Ed died, Daniel, Ed's partner, lent me Ed's dream journals.... He started writing them in 1970, the year that we met. We both used his journals, not as puzzles to solve the truth of a self but as a commons producing images that we harvested for paintings and poems. And fifty years later, there I was reading and copying out and running away from his dreams. Are they a condensed version of Ed? Shorthand? Distillation? Is he knowable and unknowable in the same degree sleeping or waking?" About Ed is a challenging and beautiful book by one of America's finest and most adventurous writers"--

From bestselling author Johanna Basford, a charming, pocket-sized coloring book that invites artists to create satisfying and simple masterpiecesWe don’t always have a whole afternoon or even an hour to dedicate to our creative practice. Small Victories is the perfect book for when you want to pick up a pencil and complete a coloring page in a single sitting. Colorists will find pages with multiple individual drawings, from which they can select a few and color, along with little vignettes and smaller motifs that can be completed in a single coloring session—all featuring Johanna Basford’s trademark whimsical illustrations and flights of fantasy.The perfect coloring book to flex your creative muscle, while also guaranteeing more of those feel good vibes you get on completion of a project!

This book contains a representative selection of the work of some of the best ceramic artists in the world. The 25 featured artists explain, in their own words, the creative processes behind their work, what inspires them, the strategies they use to stay fresh and creative, what distinguishes their work from that of other ceramic artists and how they achieve this. Through examples of their most personal creations -objects capable of affecting us emotionally, surprising us and making us think-, the artists reveal important details about their ceramic creations: how it was made, how it was shaped, which glaze and engobe coating they used to give the clay color and texture, the firing temperature of the kiln and the type of kiln chosen. The reader is provided with an illuminating glimpse into each artist's unique creative world, where they point out the defining features of their work and reveal some of the secrets that characterize their artistic processes. Paragons of exploration, risk and versatility, the extraordinary artists highlighted in this book rediscover thousand-year-old traditions, reinvent perspectives, transcend boundaries, tell stories and rebel from conventional expectations, creating in the process an exhilarating space where art, clay, water, air and fire meet and, ultimately, inspire. CERAMISTS INCLUDED. ARGELIA: Nathalie Doyen (Belgium). BELGIUM: Ann VanHoey. CHINA: Wan Liya. FRANCE: Monsieur Cailloux. GERMANY: Monika Debus. INDIA: Madhvi Subrahmanian. IRLAND: Nuala O'Donovan. ITALY: Paola Paronetto. JAPAN: Shozo Michikawa, Kaori Kurihara (now France), Yuko Nishikawa (now USA). MEXICO: Gustavo Pérez. NETHERLANDS: Cecil Kemperink. NIGERIA: Ngozi Omeje Ezema. POLAND: Monika Patuszynska. SPAIN: Ícaro Maiterena, Xabier Montsalvaje, María Oriza, Myriam Jiménez Huertas, Ana Felipe, Roger Coll. UK: Alice Walton, Nicholas Lees. USA: Lauren Nauman, Godeleine de Rosamel.

Få kunstnere har oplevet samme bratte fald fra superstjerne til kunsthistorisk prygelknabe som Carl Bloch (1834-1890). Efter sin død blev han skrevet ud af kunsthistorien og hans billeder sat på magasin. Men uden for museerne vandt Blochs virtuose teknik og forførende fortællinger fortsat nye tilhængere.I Carl Bloch – Forført gives en række bud på, hvordan Bloch har formået at fastholde et bredt publikum ved at tale direkte til de store menneskelige følelser, kropsligt og psykologisk. Hvad formede fænomenet Carl Bloch, og hvordan forstår vi ham i dag? I denne bog revurderer både forskere og et nutidigt, kritisk publikum Carl Blochs komplekse livsværk: fra de religiøse billeder, komiske genremotiver og opbyggelige skæbnefortællinger til de Rembrandt-inspirerede raderinger og de suveræne portrætter af det moderne livs kvinder.

Philip Guston paintings?particularly the liberated and instinctual forms of his late work?continue to exert a powerful influence on younger generations of contemporary painters. His daughter, Musa Mayer, manages the estate of Philip Guston and is president of The Guston Foundation. She has curated exhibitions of Guston's work and written books including the memoir Night Studio, first published by Alfred A. Knopf in 1988. In 2022 the Metropolitan Museum of Art announced that more than two hundred Guston works from her collection would be gifted to the museum.

From the author of the New York Times bestseller The Wild Unknown Tarot Deck and Guidebook comes a never-before-published oracle deck and guidebook that takes readers on a journey of self-discovery through the realm of archetypes, the place where myth and dreams meet.

Fryd Frydendahl (f. 1984) har etableret sig som en af det 21. århundredes mest væsentlige danske fotografiske billedkunstnere. Salad Days er en samling af omtrent 150 portrætter Frydendahl har taget i perioden 2012 til 2022. Den visuelle spændvidde rækker fra det kunstneriske og eksperimenterende til det kommercielle og søger at udviske grænserne herimellem. Gennem bogens forløb illustreres hendes faglige udvikling, og man oplever som læser samspillet og konnotationerne mellem Frydendahls tidligere arbejde og nye fotos produceret til bogen i 2022. Derved står bogen ligeledes som et portræt af Frydendahl som fotograf. Portrætterne ledsages af et perspektiverende essay skrevet af Elizabeth Renstrøm, tidligere Senior Photo Editor på The New Yorker. I stort omfang har fotografierne optrådt i andre sammenhænge, hvorfor bogen også indeholder et appendiks, hvor læseren kan følge værkernes oprindelse. De fotograferede er både kendte, ukendte og fotografen selv. Frydendahl bryder konventionerne for traditionelt portrætbaseret fotografi og har en særlig evne til at blotlægge en rejse for beskueren ind i et intimt rum, hvor skel mellem sociale- og kulturelle klasser, landegrænser og det fremmed udviskes. Et rum, hvor man møder universelle emner som sorg, ensomhed, identitet, venskab og familiebånd. Portrætterne rummer skrøbelighed, entusiasme, uskyldighed, naivitet, skønhed og akavethed. Frydendahl inddrager sig selv, sin familie og venner i sit arbejde, hvilket skaber både følsomme og vedkommende billeder med en distinkt signatur og potent visuel poesi. Hendes tilgang er intuitiv og nærværende. Hun er uadskillelig fra sine billeder. Forbindelsen til den fotograferede er altafgørende, hvilket gør, at man som beskuer mærker hendes billeder. Bogens titel henviser til det tidspunkt, hvor livet peaker. Til den tid, hvor du formodes at nå dit højdepunkt, men spekulerer på, om det virkelig er det. Det handler ikke om teenagere og unge. Nogle mennesker når deres højdepunkt før teenageårene, mens det kulminerer for andre langt senere hen i livet. Salad Days beskriver den naivitet og akavethed, der er forbundet med ikke at vide alt endnu – uanfægtet alder.Bogen bevæger sig i grænselandet mellem kunstfotografi, dokumentarisme og kommercielle fotos og søger at gøre op med prædefinerede opfattelser af fotografiet som medie og kunstform. Her udforskes, hvad portrættet er og kan. Salad Days cementerer den høje kunstneriske og faglige kvalitet, der har kendetegnet Frydendahls virke i mere end et årti, og som gør, at hendes arbejde appellerer til både foto- og kunstkendere, men også i bred forstand til den alment kulturinteresserede.

Color in this intricate collection of patterns with a creature hidden in each detailed page, getting more difficult to spot as the book goes on.Get lost in detailed patterns in this complex, beautiful, and playful coloring book. Each page has a creature hidden amid the linework, leaving both beginner and expert coloring fans guessing. By the end of the book, the creatures may even be too well hidden to spot!    Color them to blend and have your friends try to spot them, or make them stand out in the swirls, shapes, and leaves. However you choose to color them in, The Hidden Creatures Coloring Book will provide a fun spin on your typical coloring book!

KarenBlixen er omdrejningspunktet i denne fortælling om kærlighed oglivsskæbne. I cirkler omkring hende bevæger sig syv mænd, som hverisær beretter om voldsomme og afgørende hændelser i derestilværelse, ofte med det erotiske som et gennemgåendetræk.Romanens syv fortællere er:WilhelmDinesen: Far til Karen. En rastløs og modig soldat.ThomasDinesen: Blixens bror, en nær og loyal ven.Denys FinchHatton: Hendes store kærlighed.Farah Aden: Blixenshushovmester i Afrika.Thorkild Bjørnvig: Digter og KarenBlixens nære ven.Otto Casparsson: En svensk tjener ogvagabond.Mortende Coninck: Den rige købmandssøn fra fortællingen ”EtFamilieselskab i Helsingør”.p { line-height: 115%; text-align: left; orphans: 2; widows: 2; margin-bottom: 0.25cm; direction: ltr; background: transparent }

Dennis Scholl uses repetition. Though he does not always paint the same picture, he repeatedly returns to the same point. The terrain he passes through could be a dream landscape from a night twenty years ago. 'Landscape' is suggestive of nature, but the reality portrayed here seems fake. It is more of a park, in which nature has been replicated. And Scholl is not alone here. There are others whom he encounters over and over. But they are no ordinary passers-by; their faces seem like masks - indeed, some of them do wear masks. Are these creatures without expression? My impression is that there are certain arrangements in place within this loose community. Few things are self-evident here. For the most part, there seems to be more of a skirting around the edges of what is directly obvious. The fingers I would use to point at it would need to have more digits than I have on my hand. (Hans-Christian Dany)

Now in paperback, a collection of interviews with a French cinematic titan—covering subjects such as adaptation, the effects of capitalism on art, and the importance of intuition—selected from a period of four decades.Robert Bresson, the director of such cinematic masterpieces as Pickpocket, A Man Escaped, Mouchette, and L’Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the “advances” of Cinerama and CinemaScope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing—in his view—art of film. Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work.Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the soundtrack, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

Art Is Magic is a captivating masterpiece by the renowned author, Jeremy Deller. Published in 2023 by Profile Books Ltd, this book is a must-read for enthusiasts of the genre. Deller, with his unique and insightful perspective, takes the reader on a journey through the mystical and enchanting world of art, revealing its magical aspects. Art Is Magic is not just a book, it's an exploration of the creative spirit and a tribute to the transformative power of art. This book is a testament to Deller's profound understanding of art and its impact on our lives. Published by Profile Books Ltd, Art Is Magic is a testament to their commitment to bringing high-quality literature to readers. Don't miss out on this magical journey through the world of art.

This landmark monograph is the first comprehensive survey of Walter De Maria’s exceptionally diverse and visionary art practice, providing an in-depth look at more than 200 works and presenting the first detailed chronology ever published.Although best known as a creator of seminal works of Land art, Walter De Maria also maintained an extensive and highly original practice as a sculptor, painter, draftsman, writer, filmmaker, and composer. This expansive publication presents more than 200 works created or envisioned by the artist from 1960 until his death in 2013. Each work is fully illustrated and accompanied by detailed text entries written by Elizabeth and Michael Childress, supplemented by archival images, many of which have never been published before.Essays by Michael Govan, Christine Mehring, and Lars Nittve provide detailed overviews and analyses of the early, middle, and later periods of De Maria’s production. The monograph also includes an introduction by Donna De Salvo; the first detailed, thoroughly documented, and illustrated chronology of De Maria’s life and work, written by Dagny Corcoran; and an exhibition history and bibliography.