Bøger udgivet af KASMIN

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.

William N. Copley: Women includes beautiful plate photography of works from every phase of the artist's career, revealing Copley's (1919-96) persistent and complex fascination with the female form, masculinity, voyeurism, politics, art history and more. A new text by Claire Copley, one of the artist's two daughters, addresses head-on the frank sexuality and complicated gender politics present in much of her father's work, in a unique hybrid of personal memoir, cultural criticism and art history. A reprint of the artist's seminal text, "CPLY's Reply to the Breakup at the Wasteland of Good Taste," plus photos of the artist from the family archives and installation photography of key historical exhibitions at the Alexander Iolas and Iris Clert galleries in Paris, and at the New Museum in New York City, provide further historic and conceptual background.

This book focuses on the iconic Umber Paintings of Lee Krasner (1908-84), which consist of only 24 paintings. Painted between 1959 and 1962, the Umber Paintings were realized during one of Krasner's most ambitious periods of cproduction following the sudden and tragic loss of her husband, Jackson Pollock. During this time of newfound solitude, Krasner moved into Pollock's studio at their home in the Springs, East Hampton, which enabled her to experiment on large canvases for the first time. In addition to the increase in scale, this period was also characterized by a further commitment to %allover% compositions. By the end of the 1950s, Krasner's emotional turmoil confined her to work only at night under artificial light. The Umber Paintings convey a distinctive rawness and intensity that was unprecedented in her oeuvre until this point, and remain lauded as the artist's most psychologically evocative works.