Bøger af Klaus Biesenbach

Nach ihrem Kunststudium in Budapest flieht Reigl 1950 nach Paris, wo sie André Breton kennenlernt, der 1954 ihre erste Ausstellung organisiert. Unter Einfluss der École de Paris kommt sie über die Écriture automatique zur freien Expression. Wie ihre Zeitgenoss:innen Jackson Pollock und Helen Frankenthaler in New York legt sie immer größere ungrundierte Leinwände auf den Boden und bearbeitet sie mit einem Pinsel, ihren Fingern oder anderen Instrumenten. Ab 1966 entstehen Körperformen aus der Abstraktion und in den Bildern erscheinen wieder Figuren.Anlässlich Reigls 100. Geburtstag und einer Schenkung von drei Hauptwerken richtet die Neue Nationalgalerie die erste museale Einzelausstellung der Künstlerin in Deutschland aus. Das Buch gibt einen Überblick über das OEuvre einer der wichtigsten Protagonistinnen der europäischen Kunst der zweiten Hälfte des 20. Jahrhunderts.

The first-ever history of New York's pioneering art space, with film stills, ephemera, and photography in a scrapbook style, this groundbreaking publication captures the vibrancy of a long and venerable tradition that began with the legendary series of performances and events organized by founder Alanna Heiss under the Brooklyn Bridge in 1971.

A collection of images and texts that deal with the idea of visual memory, shared visual knowledge and the interwoven texture of imagined and remembered sounds and images. It also explores the relationship between film and psychoanalysis, and the way these systems of thought have affected the idea of individual biography.

Examines the beginnings of Onos extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. This book includes an introduction written by a guest scholar, artwork descriptions and key figures from the time. It also features exhibition dedicated exclusively to the artists work.

In early 2007, Doug Aitkens' work "New Day Now" is projected onto seven facades on and around the MoMA building. This publication serves as both a document and an extension of the project. It examines Aitkens dramatic combinations of structural and narrative devices as well as additional behind-the-scenes material about his creative process.