Kunstnere, kunstmonografier

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Beginning in 1972, Richard Serra has made over 320 print editions at the Los Angeles artists' workshop and fine-art publisher Gemini G.E.L.-more than any other artist. Gemini co-founder Sidney B. Felsen has had the good fortune and privilege of witnessing the birth of each and every of these editions, camera in hand. Early on, Felsen realized there was an intrusive element to photographing someone engaged in the private, meditative moments of making art, and his ally became the close friendships with artists he developed throughout the decades, along with his subtle manner: "Taking photographs," says Serra, "is Sidney's way of watching over not watching us." Although sculpture is the most public aspect of Serra's practice, drawing and printmaking play crucial roles, both as independent pieces and in working towards sculpture. Richard Serra at Gemini presents a selection from nearly 3,000 photos by Felsen, revealing ways in which Serra has remade the conventions of printmaking, and celebrating 50 years of ongoing friendship and collaboration.

Over the past five decades Nancy Rubins has transformed everyday objects into dynamic, otherworldly assemblages in a multitude of scales, dimensions and mediums. Fluid Force presents a comprehensive survey of Rubins' gravity-defying practice and invites us to linger on her investigations of materiality-from early explorations of wood and clay to two-dimensional photo-collages, graphite sculptural drawings, and complex sculptures comprising found domestic objects (from televisions to toasters and hair dryers) and large salvaged objects such as boats, mattresses and airplane parts. Rubins' fascination with form and matter is unmistakable as she explores and challenges preconceived notions of what sculpture and drawing could and can be. With over 90 photographs and new texts by Phong H. Bui, Eric Shiner and Yayoi Shionoiri, Fluid Force is a much-needed publication that celebrates Rubins' extensive career and her brilliance in uniting the worlds of art and engineering-a reminder that what appears solid and static is in fact in a constant state of change.

STEIDL-WERK No.31: GHOSTS IN THE MACHINE is Theseus Chan and Gerhard Steidl's latest adventure in redefining what constitutes a book. The normal starting-point for any book is blank sheets of paper, yet for STEIDL-WERK No.31 that is not the case. Instead, Chan and Steidl have taken already printed "make-ready" sheets from a recent Steidl book-the sheets produced on press while the printing plates build up the right levels of ink to deliver optimal results. Each make-ready sheet shows a different collection of inks and they are normally discarded; here they are the very heart of the book. On top of these sheets (fed into the press in a random order) is printed a new series of Chan's ink drawings-shifting, bleeding, abstract forms or "ghosts," which interact with the underlying images and texts in unpredictable ways. The result is an experiment with technical and optical accidents; each book in the edition, like Chan's drawings, is unique. Presented in a cardboard box with ten posters, ten postcards and a zine, as well as a copy of Steidl Magazine No.7 edited by Chan, STEIDL-WERK No.31 is a treasure trove of offset innovation.Limited edition of 500

This is the first English-language biography of the Japanese artist Yasushi Tanaka and his American wife Louise G. Cann with never-before published details. Their unconventional marriage in the early 20th century challenged Victorian Era norms and defied anti-Asian prejudices.

Jesús Cisneros is a celebrated international illustrator whose work is characterised by its economy of elements, simple, almost minimalist strokes, and a limited selection of colours to breathe life into highly evocative drawings. This book filled with vibrant images presents Cisneros's creative processes as the artist shares insights about inspiration, improvisation, personal style, and artistic evolution. The author includes an illuminating interview woven throughout the text and gives glimpse into Cisneros's personal notebooks, showcasing the research and exploration that underpins his magical scenes. From experimental workshops conducted with young people worldwide to commissioned works and his own expressive and introspective pieces illustrating poetry and prose, children's books and theatre scenery, the breadth of Cisneros's art unfolds before readers' eyes. The reader accompanies the artist as he wields brushes worn with time, dipping them into jars of paint and sketching on squares of vegetable paper. We witness the subtle interplay of pale pinks merged with pearl greys and the vigorous intensity of explosive carmine reds kissed by African browns. Cisneros's palette dances with indescribable colours, a testament to the hypnotic alchemy of his chosen paints. With a visually mesmerizing collection of his works, the book celebrates the wide range and intensity of Cisneros's artistry and how sensibility and technique combine in his illustrations, proving that great stories can be told with very little.Jesús Cisneros was born in Zaragoza (Spain) in 1969. He studied illustration and Art History at the University of Zaragoza. He currently lives and works in Mexico where his work is focused on the publishing field. He has illustrated for publishers such as Fondo de Cultura Económica, Ediciones Castillo, Libros del Zorro Rojo, OQO, Anaya, Edelvives, Oxford, Kite Edizioni, Passepartout Editions, among others.

Site-specific sculptures in dialogue with pre-Columbian works, from a midcareer American artist known for his use of natural materialsThis catalog follows the 2022 exhibition of works by US-born, Mexico-based sculptor Alma Allen (born 1970) in Diego Rivera's iconic Museo Anahuacalli in Mexico City. Through 26 newly commissioned sculptures installed among the volcanic architecture and grounds of the museum, this volume delves into Allen's ongoing engagement with time, form and hybridity. The publication features more than 70 illustrations alongside a long-form interview with the artist by exhibition curator Karla Niño de Rivera, an analysis on site specificity by world-renowned architect Mauricio Rocha and an essay concerning the mythologies shared across Rivera's and Allen's work by curator and critic Mimi Zeiger. The symbolic and ritualistic potentials enacted by Allen's contemporary intervention are in dialogue with Mesoamerican culture. Informed by the unique experience of how time is perceived at Museo Anahuacalli--where the ancient and present collide--the authors discuss different facets of the museum and collection (the Aztec goddess Coatlicue, the energy of Colima figures and these objects' historical use as portals into other worlds) in relation to Allen's work.

In November 2023 the new Blavatnik Art, Film and Photography Galleries will open at IWM London. These new Galleries will be the UK's first to explore how artists, photographers and filmmakers bear witness to and tell the story of war and conflict. Taking centre stage will be John Singer Sargent's iconic six-metre-long painting Gassed, 1919, which moved contemporary audiences to tears as it brought home the reality of First World War fighting. Returning to IWM London for the first time since 2016, the painting has undergone extensive conservation work including the removal of discoloured historical varnish. John Singer Sargent's Gassed presents the newly conserved painting in all its glory, exploring the history of the artwork and its composition, and examining its importance in the art world. The book also features newly commissioned photography, bringing the rich detail of the painting to life for new audiences.

Pictures for Charis offers a groundbreaking new work by artist Kelli Connell, synthesizing text and image, while raising vital questions about photography, gender, and portraiture in the twenty-first century. Pictures for Charis is a project driven by photographer Kelli Connell's obsession with the writer Charis Wilson, Edward Weston's partner, model, and collaborator during one of the most productive segments of his historic career. Connell focuses on Wilson and Weston's shared legacy, traveling with her own partner, Betsy Odom, to locales where the latter couple made photographs together more than eighty years ago. Wilson wrote extensively about her travels and about her, and Weston's, photographic concerns. In chasing Charis Wilson's ghost, Connell tells her own story, one that finds a kinship with Wilson and, to her surprise, Weston, too, as she navigates her own life and struggles as an artist against a cultural landscape that has changed and yet remains mired in the many of the same thorny issues regarding the nature of desire and inspiration, and the relationship of artist and landscape. This rich weave of narrative and images complicates and breathes new life into a well-known set of photos, while also presenting an entirely new and mesmerizing body of work by Connell, her first work combining image and text as a mode of visual research and storytelling. Copublished by Aperture and the Center for Creative Photography, Tucson