Bøger udgivet af Hatje Cantz

Zhou Li's lyrical abstract paintings capture her acute sensoryobservations of the world: lightness and shadow,solidity and dissolution, the sense of being. Building uponthe history of European painting and the central tenetsof traditional Chinese art, the Shenzhen-based artist harnessesboth traditions to develop a distinct painterly language.Her free-flowing charcoal lines intersect with circlesof paint in a gauzy, gossamer palette.Organized in three sections, this publication presents threepivotal bodies of work. Lost in Green, created in the uniqueyear of 2020, turns our attention to the elemental shiftsof spring, harnessing its powerful symbolism of flux andregeneration. Tracing The Peach Blossom Spring uses coloras a healing force and tool for self-reflection, expressingemotional journeys in response to life cycles of birth andgrief. Water and Dreams focuses on the universal motifof water, drawing upon its rich cultural symbolism andcomplex representations throughout art history, religionand mythology. Insightful and poetic texts and a distinctivethematic colorway respond to each body of work.ZHOU LI (*1969, Hunan, China) creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. After graduating from the Guangzhou Academy of Fine Arts in 1991, the artist spent eight years living in Paris, and eventually returned to China in 2003. Zhou Li has been the subject of critically acclaimed museum shows across China.

Anna Bogouchevskaias Bildhauerei ist geopolitischerUmgang mit Themen an der Schnittstelle von Figurationzur Abstraktion. Es ist der erste Catalogue Raisonné derdeutsch- russischen Bildhauerin, der auch ihr Frühwerkin der Auseinandersetzung mit den Werken des französisch-russischen Künstlers Marc Chagall zeigt. Nach demFall des Eisernen Vorhangs übersiedelte die Künstlerinvon Moskau nach Berlin, wobei ihr Übergang zum Mittelbauihres künstlerischen Werkes sich zunehmend in ihrerSkulptur den Naturphänomenen zuwendet, wie etwa demverbindenden Element des Wassers in seinen unterschiedlichenAggregatzuständen und Erscheinungsformen. DiePublikation ordnet ihr Werk der vergangenen 40 Jahredurch namhafte Autoren kunsthistorisch ein und öffnetden Blick in ein einzigartiges Werk.In ihren Zeichnungen entwickelt JORINDE VOIGT (*1977 in Frankfurt am Main) eine Art Zeichencode, der ausgeprägt subjektiv und individuell erscheint und strengen Regeln und Systemen unterworfen ist. Ihre Notationen entwickeln dabei Bildräume, die in einem zeichnerisch-philosophischen Prozess die Welt in die ihr zugrunde liegenden Parameter, wie Distanz, Geschwindigkeit, Himmelsrichtung, Frequenz, Popcharts, Genres und anderes mehr, auffalten und die Gleichzeitigkeit all dieser Möglichkeiten offenbaren.

The term "concrete art" was coined by the Dutch artistTheo van Doesburg in 1930, referring to works of art thatare exclusively based on purely "plastic" elements, suchas color, line and plane, thereby forming an independent"concrete" reality. Accompanied by a new interest in howwe perceive and process visual impressions, insights fromperception psychology have been artistically explored tocreate dynamic and 'living' images.Over the past 50 years, the Norwegian art collector ErlingNeby has built an extraordinary collection of geometricand concrete art. Encompassing European, American andNordic art, the main focus is on works from the post-waryears, including leading figures such as Victor Vasarely,Max Bill, Auguste Herbin, Josef Albers, Aase Texmon Ryghand Olle Bærtling, as well as new generations of artistswho, in different ways, use a geometric-abstract form ofexpression. This catalogue documents a major exhibitionat the Kode Art Museum in Bergen featuring more than100 works from the collection, which-through its truly personalselection-offers a complex picture of artistic positions,and the impact of geometric and concrete art.

On the occasion of the 100th anniversary of Boris Lurie's birthday the catalogue Life with the Dead presents more than fifty works from 1950 to 1970 that illustrate his active commitment to social justice and the memory of the Holocaust. The Jewish artist bore witness in many ways to the horrors of the Holocaust in the German concentration camps. However, his works of art are not only expressions of suffering, but also symbols of hope for the integration of someone who would henceforth belong to the minority of survivors. Friends and companions describe Lurie's development from his beginnings in the 1950s, through the NO! art movement, to his renaissance as one of the main representatives of Holocaust art. Tom Wolfe published his text on an exhibition at Gertrude Stein's gallery, New York in 1964. René Block exhibited Lurie in Berlin, and Achille Bonito Oliva met Boris Lurie's art in 1962 on the occasion of the exhibition Doom Show Boris Lurie and Sam Goodman at the Galeria Arturo Schwarz in Milan. Rafael Vostell and Jürgen Kaumkötter provide the contextual framework for the book, which is complemented by words of greeting from Gertrude Stein, Boris Lurie's lifelong friend and Jürgen Wilhelm from the Landschaftsverband Rheinland.Born in Leningrad in 1924 and raised in Riga, BORIS LURIE (1924-2008) lost his emotional home forever in December 1942 withthe murder of female family members and his childhood sweetheart.After surviving several German labor and concentrationcamps, Lurie emigrated to New York in 1946, where he became aco-founder of NO! art, a provocative art movement of the 1960s.Characterized by subversion, irony, and often through direct referencesto the Holocaust, Lurie's works were critical comments onPop Art and the American consumer culture of his time.

"I have always been interested in photographing normal,everyday life. For me the greatest challenge is to makean interesting image of something very ordinary, almostinvisible," reflects Finnish photographer Markus Jokela.His images are the result of coincidences and unplannedencounters with people and places. Jokela almost neverstages his photographs. Sometimes he asks people to stop,to freeze, but usually he just snaps one or two frames andcontinues walking. Moments and Landscapes of MinorImportance were shot in Helsinki between 2019 and 2023.Most of them were captured within a few kilometers fromwhere he lives.Jokela has won three World Press Photo awards, butdespite his proximity to global moments, his personal projectsoften document everyday human life.MARKUS JOKELA (*1952, Helsinki) is a photographer who hastraveled the world to report on global news. He earned his MA insocial sciences at University of Tampere, Finland, and from 1981-93 worked as a journalist for the Helsingin Sanomat newspaper,before becoming a photo editor at the same newspaper, andeventually a photographer in 2001.

Mit der Publikation dieDASdocs: Monumental Affairs liegt die erste Publikation der Designakademie Saaleck vor. In dem ersten Band der Reihe werden die Ergebnisse des Fellowship-Zyklus 2023 'Monumental Affairs' präsentiert. In der Publikation werden Arbeiten vorgestellt, die die Saalecker Werkstätten als umstrittener Ort kritisch zu Begriffen wie 'Rasse', Nationalismus, Architektur und Gestaltung diskutieren.

Moments of Change stellt die Künstlerinnen des Nahen und Mittleren Ostens in den Mittelpunkt und spannt als erste deutschsprachige Publikation zu diesem Thema einen Bogen vom Beginn des 20. Jahrhunderts bis zu den zeitgenössischen Entwicklungen. Ein Fokus liegt auf Pionierinnen wie lnji Efflatoun, Monir Shahroudy Farmanfarmaian, Etel Adnan, Huguette Caland,Fahrelnissa Zeid und Füsun Onur, die wesentlich an der Entwicklung eines modernen Kunstbegriffs beteiligt waren und ihren Stil in der Auseinandersetzung mit der traditionellen Formensprache und den neuen Strömungen der westlichen Kunst entwickelten. Gemeinsam ist ihnen, dass sie große gesellschaftspolitische Umwälzungen erfahren haben. Auch viele Künstlerinnen der nach dem Zweiten Weltkrieg geborenen Generation, darunter Mona Hatoum,Shirin Neshat, Anna Boghiguian, teilen Erfahrungen von politischen Konflikten, Krieg und Exil, die sich in ihrem Werk in Themen wie Identität, Unterdrückung und Verlust von Heimat widerspiegeln. Die junge, zeitgenössische Generation tritt wiederum mit einem neuen Selbstverständnis an, um die Rolle der Frau in muslimisch geprägten Gesellschaften sowie den westlichen Blick auf sie infrage zu stellen. Texte von Expertinnen sowie Interviews mit Künstlerinnen und Akteurinnen aus der Region vermitteln einen generationsübergreifenden Einblick in diese spannende, international vernetzte Kunstszene.

Stopgap Measures presents an exciting selection of essays,interviews and shorter pieces on the work of American artistMike Kelley (1954-2012) written over more than threedecades by the noted art historian and cultural critic JohnC. Welchman.Kelley's provocative career gave rise to some of the mostconceptually and materially diverse work of recent times-in performance, writing, painting, drawing, sculpture, banners,multimedia installation, appropriated objects andimages and video, as well as numereous collaborations.This volume includes reflections on specific works, and featuresa signature series of pathbreaking essays on Kelley'sinnovations in photography and writing as well as explorationsof major themes in his practice, research and thinking:physical comedy and verbal humor; memory; popularculture, dress-up and Americana; the uncanny; imaginativeprojection and dark fantasy; appropriation and giving;authorship and self-construction; and the artist's littleremarkedupon negotiation with the histories of and ideasabout Asia. The book concludes with new essays on Kelley'sengagement with animals and the nonhuman; and on therefrain disappearances that punctuate Kelley's career setin relation to specters of social catastrophe and nuclearannihilation.

This expanded second edition of Reclaiming Artistic Research explores artistic research in dialogue with 24 artists worldwide, reclaiming it from academic associations of the term. Embracing artists' dynamic engagement with other fields, it foregrounds the material, spatial, embodied, organizational, choreographic, and technological ways of knowing and unknowing specific to contemporary artistic inquiry. The second edition features a new text by the author and four new artist dialogues to reflect on the changing stakes of artistic research in the wake of the global pandemic, a widespread reckoning with social justice, the growing role of artificial intelligence, and the urgent reality of climate change.LUCY COTTER (*1973, Ireland) is a writer, curator, and artist. She was Curator of the Dutch Pavilion, 57th Venice Biennale, 2017, and Curator in Residence at Oregon Center for Contemporary Art 2021-22. The inaugural director of the Master Artistic Research, Royal Academy of Art, The Hague, Cotter has lectured internationally, most recently at Portland State University.

Sacred Modernity documents the dramatic shift in ecclesiasticalarchitecture across post-war Europe. Spurred on bythe modernizing impulses of the Second Vatican Councilin the early 1960s, and in search for an appropriate architecturallanguage that showed that the Catholic Churchwas still relevant to the modern world, this was the periodwhen the church married the atheist architect, and bore achild of pure form. Among these structures, some exude ajoyful antagonism, while others emanate a cold minimalism.Boldly designed, outrageous and provocative for theirtime, the aesthetic of this period still ignites great debatebetween modernists and traditionalists.Half a century on, this study traces how their materials andideals have matured and patinated. Remaining amongstthe most unique buildings within our public sphere, theyare future visions from the near past that seem to anticipatesocieties current shift away from organized religiontowards an individual spirituality.The book represents the first attempt by a photographer tocollate the religious architecture of the mid-century highmodern years that took many forms, from Brutalism toStructural Expressionism, under a singular artistic vision.JAMIE McGREGOR SMITH (*1982, Weymouth, UK) studiedphotography at Staffordshire University, graduating in 2006.Inspired by the American New-Topographic movement, he beganhis documentary records with the defunct pottery industry in theBritish midlands, the collapse of the motor industry in Detroit, orthe abandoned Athens Olympics stadiums. His works have beenpublished by The New York Times, The Guardian, the FinancialTimes, Wallpaper*, Architectural Digest and Vanity Fair.

Nachdem der experimentelle Musiker und bildende Künstler Mazen Kerbaj mit seiner Familie von Beirut nach Berlin gezogen war, sah er sich mit einer neuen Sprache, einer neuen Welt konfrontiert. Er beschloss, Deutsch auf seine Weise zu lernen: ein Wort pro Tag, 365 Tage lang, jedes Wort illustriert durch ein Selbstporträt. Learning Deutsch ist Wort-Bilder-Buch und immerwährender Kalender zugleich: Wort für Wort folgen wir Mazen Kerbaj auf seiner Entdeckungsreise durch Eigenheiten der deutschen Sprache. Die von arabischen, englischen und deutschen Wörtern flankierten Zeichnungen entwickeln ein einzigartiges Lehrbuch zum Spracherwerb. Die Zeichnungen sind oft witzig, manchmal aber auch traurig und anrührend; sie illustrieren selten einfach nur die Worte, sondern sind das offene Tagebuch eines Künstlers aus dem Nahen Osten der seinen Weg im deutschen Alltag findet.MAZEN KERBAJ (*1975, Beirut) der in so unterschiedlichen Bereichen wie Musik, bildende Kunst, Comic oder Theater arbeitet, ist eine der Schlüsselfiguren der libanesischen Kunstszene nach dem Bürgerkrieg. Seine Arbeiten wurden in mehr als zehn Sprachen veröffentlicht und in Galerien, Museen und auf Kunstmessen in aller Welt ausgestellt.

Wer eine seiner spektakulären Performances auf der Bühneoder Interventionen im öffentlichen Raum erleben durfte,wird sie nicht vergessen haben. Bunt vermummte Performer*innen bewegen sich im Trupp durch die Stadt und- auf ein geheimes Kommando hin - stapeln sich und verschränkenihre Körper in Hauseingängen, auf Treppenabsätzenoder auf Parkbänken, das Publikum folgt ihnenstaunend. Künstler und Choreograf Willi Dorner gründeteseine Kompanie 1999 in Wien: Mit seinen ortsspezifischenPerformances und Interventionen, Fotografien und Filmenermöglicht er eine differenzierte Wahrnehmung unseresAlltages.Dieses Buch gibt einen Rückblick auf sein bisheriges interdisziplinäresSchaffen im Innen- wie Außenbereich. ZahlreicheBilder sind den persönlichen Erinnerungen Dornerszur Seite gestellt und vervollständigen das Bild über seinekünstlerischen Arbeiten abseits der Bühne vom Ende der1990er-Jahre bis in die Gegenwart. Ein interessanter Einblickin das »making-of« der Projekte, Erlebnisse auf seinenzahlreichen Reisen, eine Fotostrecke zum Thema Stadtrunden das Porträt ab.

Over the last 30 years, the French artist Philippe Parrenohas radically redefined the experience of the exhibition byplacing its construction at the heart of his process. Workingwith high-end technologies, film, and performance, hetransforms galleries in choreographed spaces that follow ascript where a series of unexpected albeit interconnectedevents unfold, thereby playing with the sensory experiencesof the visitor who is guided through the space bythe orchestration of sound and image.Pushing the boundaries between script and transcript,between document and memory one step further, the publicationVoices consists of transcriptions of his films, audioworks, and performances, transferring these seminal works(back) into written form. The collection of texts establishesa new perspective on Parreno's practice, which has alwaysbeen focused on revisiting and evolving his artworks fromthe past, and offers insight into the artist's multi-facetedapproach to language and the human voice.PHILIPPE PARRENO (*1964, Oran) is one of the most influentialFrench artists of the last decades. Through his multidisciplinarypractice and astonishing films, including his iconic "marquees,"luminous objects that speak, glimpse, sing, and enter intodialogue with the visitors, Parreno creates artworks that questionthe boundaries between reality and fiction, and play with ourunderstanding of time. He has transformed the monumentalspaces of the Palais de Tokyo and Tate Modern's Turbine Hall.Recent exhibitions include site-specific interventions in theRotunda of the Bourse de Commerce in Paris, and the Museo delPrado in Madrid. Parreno lives and works in Paris.

Gabriele Rothemanns Fotografien bilden nicht einfachetwas ab, sondern stellen etwas her: Eine Beziehung zulängst Vergangenem, eine Verbindung mit fremden Zeitenund Räumen. In jedem Bild schwingt der Nachhall andererBilder mit, in jedem ist eine Fülle von Möglichkeiten, wiedie Welt im Bild wahrgenommen und dargestellt werdenkann, verdichtet.Seit 1984 verwendet sie das Medium der Fotografie in einerArt und Weise, die den Gegenstand in ihren Bildern nichterstarren lässt, sondern ihm imaginäres Leben verleiht.Ihr Werk kreist um existenzielle Fragen - insbesondereum die Grundfrage allen Lebens: seine Endlichkeit. Oftabstrahiert und gleichzeitig präzise und detailreich dargestellt,bekommen ihre Motive von den Toten Tieren zuden Miniaturen über das Verschwinden eine eindringlichePräsenz. So appelliert die Künstlerin an die Empathie ihrerBetrachter*innen und berührt sie nicht zuletzt mit dersinnlichen Qualität ihrer Bilder, ihrer klaren Bildspracheund ausdrucksvollen Schönheit.GABRIELE ROTHEMANN (*1960, Offenbach am Main) hat an derKunstakademie Düsseldorf bei Fritz Schwegler und am CaliforniaInstitute of the Arts, Los Angeles, studiert. Sie lebt und arbeitetin Wien. Seit 2001 leitet sie als Professorin die Klasse für Fotografiean der Universität für angewandte Kunst Wien. RothemannsWerke werden in zahlreichen Ausstellungen im In- und Auslandausgestellt und sind in vielen Sammlungen vertreten.

¿ Striking walkable room installation¿ Documenting a temporary art installation that endured for a decade¿ Summary and illustrated review of the project

Sanyu: His Life and Works in Oil traces the life of theChinese artist (1895-1966) from his early years in Chinaand Japan, to his artistic experimentation and developmentin Paris and New York, ending in his tragic death,impoverished and forgotten. Today, however, Sanyu is oneof the most coveted Chinese modern artists. An examinationof his life reveals that it was precisely the polaritiesand tensions he experienced that spurred him to create aunique pictorial language that so dynamically integratedthe spirit of Western modernity with centuries-old establishedChinese traditions. Sanyu metamorphosed froma Chinese artist of the modern period to a modernistwith Chinese cultural roots. These intersecting dynamicsresulted in a hybridization previously unseen.Featuring examples of his works of all genres and drawingon a wealth of archival material as well as personal storiesrecounted by people who knew Sanyu, this biography is themost comprehensive record of Sanyu's life to date.

Charcoal Vol. II presents the charcoal drawings of American artist Robert Longo from 2012 to the present. This large-format, elaborately designed catalogue, printed on natural paper using a tritone process, bound in half linen represents a continuation of the first volume; together they form a comprehensive compendium of this central oeuvre by the legendary New York artist, who was a key figure in founding the Pictures Generation in the 1980s. In this new catalogue, essays by Tim Griffin and Haley Mellin address the existential questions of our time that are at the heart of these new, large-scale, hyperrealistic drawings: war, violence, capitalism, the rising division of American society, the possibilities of political protest and individual freedom in the face of the overwhelming power of the media.ROBERT LONGO (*1953, Brooklyn) is one of the most influential artists of American postmodernism. After graduating from the State University College in Buffalo, New York, in 1975, he became one of the central protagonists of the Pictures Generation. Despite the diversity of their individual positions, this loose group around artists Cindy Sherman, Barbara Kruger, Louise Lawler, David Salle, Richard Prince, Jack Goldstein, and Sherrie Levine is characterized by its use of already existing images referencing mass media and pop culture. Longo lives and works in New York.

A poet, painter and philosopher, Etel Adnan's life and work was shaped by a profound and vibrant exchange between Arab and Western cultures. In 2024, the King Abdulaziz Center for World Culture in Dhahran is organizing the first major exhibition in Saudi Arabia dedicated to one of the most important voices in modern American-Arab literature and visual art. Living a life between Lebanon, France and California, and influenced by her travels to Mexico and North Africa, Adnan's work is characterized by her openness to different media and languages, both literary and visual. Refusing to continue writing in French to show solidarity with Algeria during the Algerian War of Independence, she began to paint using bright colors as a universal language. Alongside this, leporellos became her signature medium: the pocket-sized books unfold into several meters long, lavishly illustrated tapestries of poetry and painting. Opening up new perspectives, this catalogue brings together a large number of works from all periods that emphasize the richness and diversity of Adnan's oeuvre, and explores various themes essential to a deeper understanding of her work. A comprehensive chronology willalso enrich the book, making it not least a reference tool in Arabic.ETEL ADNAN's (1925-2021) widely-acclaimed work was shaped by a constant immersion in new contexts and cultures. Born in Beirut to a Greek mother and father from Damascus, she grew up in an extraordinary multicultural environment. A student of philosophy in Beirut and Paris, she moved to the US in 1955 to attend Berkeley and Harvard, and taught philosophy in the San Francisco Bay Area from 1958-72. There she began to paint, deeply inspired by her encounters with the surrounding nature. Adnan returned to Beirut in 1972 to work as a cultural editor for two daily newspapers. Fleeing the civil war, she resettled in California in 1977, making Sausalito her home, with frequent stays in France.

The pilot issue of the new annual publication DELUS offersa range of diverse insights into landscape and urban questions.Founded in 2022 by the Institute for Landscape andUrban Studies (LUS) at ETH Zurich, it introduces new methodsto unpack multiple worlds and narrate manifold stories.The contributions range from unraveling histories of land-body relations through recipes with Luiza Prado de O.Martins, following living fossils and their mythical counterpartswith Christina Gruber, working with communitiesto examine extractive environments with Karin Reisinger,exploring postnatural aesthetics with the Institute forPostnatural Studies, to recording wastelands with SandraJasper and developing speculative curricula engagingwith overlooked forms of knowledge alongside FedericoPérez Villoro. As a collection, these contributions addressthe complex relations between humans, non-humans andtheir environment across time and space. RIOT-Research and Innovation On Territory-is a laboratory engaged in pedagogy and research within the Institute of Architecture at the Swiss Federal Institute of Technology (EPFL), lead by architect and urban designer CHARLOTTE MALTERRE-BARTHES. Believing that the construction sector and design disciplines must pivot and wholeheartedly engage in the current social and climatic urgencies by rewiring themselves to face and repair the harm, RIOT utilizes tactics and strategies to decarbonize, decolonize, and depatriarchalize space production-by design.

SINK / RISE is the third chapter of The Day May Break, NickBrandt's ongoing global series portraying people and animalsthat have been impacted by environmental degradationand destruction. This third chapter focuses onSouth Pacific Islanders impacted by climate change andserves as a stark reminder of the looming reality manyisland nations face. The local people in these photos, photographedunderwater in the ocean off the coast of theFijian islands, symbolize the many people who stand tolose their homes, land and livelihoods in the coming decadesas the water rises.The images-all shot in-camera underwater-are hauntinglybeautiful. But beyond the immediate visual impact,Brandt's work delves deeper, asking: how did we get here?What does the future hold for these communities? Andhow can we mitigate, if not reverse, the damage? Brandt'semphatic portraits bridge the often abstract concept of climatechange and are a reminder that behind every statisticabout rising sea levels, there's a tangible human story.NICK BRANDT (*1964, London) studied painting and film at St.Martin's School of Art, London. In 1992 he moved to California,where he still lives today. Since 2001, he has documented thedestructive impact that humankind is having on the naturalworld and, as a result, on humans themselves. Chapter One ofhis seminal series The Day May Break featured photographstaken in Zimbabwe and Kenya in late 2020. Chapter Two wasshot in Bolivia in 2022. In the third chapter Brandt introducescolor to the series, highlighting the all-encompassing impact ofthe water.

Since the late 1970s, the Canadian artist Jeff Wall has contributed significantly to establishing photography as an autonomous medium, and is regarded as one of the key vanguards of "staged photography". Referring to his approach as "near documentary", his images resemble documentary photographs in style and manner, but instead are meticulously composed, multilayered compositions. Synthesizing photography with elements from other art forms such as painting, cinema, and literature-in a complex mode that he calls "cinematography"-his deeply intellectual work stages fictional realities, memories and past experiences in an elaborate process. Featuring more than fifty works, this catalogue accompanying the large-scale exhibition at the Fondation Beyeler juxtaposes Wall's iconic backlit color transparencies with his more recent black and white photographs and color C-prints, revealing a variety of references in content and form.With his innovative approach to photography, JEFF WALL (*1946, Vancouver) has significantly shaped the medium and its status within contemporary art. After completing his postgraduate studies in art history in the mid-1970s, his new conceptual approach to large-format pictorial photography attracted attention. Each of his images is a unique composition that can take years to complete. Since the mid-1990s he has expanded his repertoire, working with traditional black-and-white prints and, more recently, inkjet color prints. He lives and works in Vancouver.

Subversive Practices explores European and South American experimental and conceptual art practices established between the 1960s and 1980s under the influence of military dictatorships. It features the work of Juan Downey, Cornelia Schleime, Krzysztof Wodiczko and nearly 100 other artists.

Warhol as publisher, author, book artist and illustratorWas Andy Warhol (1928-87) an intellectual or a comics reader? In any case, he loved books. From his student days onward, he was fascinated by the medium of print. Starting out with illustrations for famous novels by the likes of Truman Capote and Katherine Anne Porter, he became a successful graphic designer who then also created playful thematic booklets that he would hand out to New York's fashion scene as promotional gifts. He designed covers for large publishing companies and made silkscreens and lithographs for the covers of poetry books written by author friends. In his own books he documented the film and photographic work done at his Factory. Warhol also blasted apart the usual genres of literature by having sound recordings transcribed and published. Including a complete bibliography, this fascinating and fresh volume is the first substantial presentation of Warhol's important innovations in printed books.

This volume celebrates the German architecture office HPP, founded in 1933. The first part of the book shares the partners' reflections on their collaborations and collective attitude, while the second part discusses how social developments in Germany have influenced HPP projects.

Working in the tradition of Matisse and Cézanne, Hans Purrmann (1880-1966) was a leading German artist in the first half of the twentieth century. This catalogue raisonné of his drawings includes more than 1,200 works in pencil, ink, chalk and charcoal.

This multinational collaboration focuses on the cultural and ecological significance of the polar regions, which have recently proved controversial as nations compete for use of the terrain. This volume recruits media artists to propose communications systems and an eco-friendly research station for the Arctic. Scheduled to run over a period of years, it involves workshops, fieldwork, publications and exhibitions.

Nina Beier probes the depths of the material world, exposing the underlying narratives contained in the lives of the objects we produce, acquire, use, and discard. Harnessing found objects and commodities as well as associated social habits and behaviors, she deftly manipulates and recontextualizes them within her sculptures and performances to examine global power dynamics, value, and representation. This richly illustrated volume provides an in-depth understanding of the Danish artist's multifaceted career through the sampling of existing texts written by key collaborators over the past decade, and newly commissioned essays which further explore the central concerns and motivations behind Beier's practice, exhibition history, and selection of materials. With extensive survey exhibitions culminating in 2024 at CAPC musée d'art contemporain, Bordeaux, KIASMA Museum, Helsinki, and El Museo Tamayo, Mexico City, now is an evident time to publish the first elaborate monograph to date.NINA BEIER (*1975, Aarhus, Denmark) graduated from the Royal College of Art, London in 2004. Working with a range of objects travelling between different geopolitical realities, Beier's installations seek to confront, negotiate, and undermine the volatile tropes these materials bear. Her internationally acknowledged work has been presented in a range of environments from museums to the public realm. She lives and works in Copenhagen.

French photographer Jean-Luc Mylayne (born 1946) has spent his life photographing birds. This book presents 39 works created between 1979 and 2008, organized into nine chapters according to their relationship to light and location.

The public reception of Pablo Picasso's (1881-1973) art is inextricably bound up with the early support of his first collectors--men such as Raoul La Roche, Rudolf Staechelin, Karl Im Obersteg and Maja Sacher-Stehlin, who were buying his work from c. 1918 on--as well as the Basel art historians Georg Schmidt and Christian Geelhaar, who were among the first to recognize the role Picasso would play in twentieth-century art. This publication accompanies a large-scale retrospective of the artist's work, the first to unite the collections of the Kunstmuseum Basel and the Fondation Beyeler, assembled with donations from the private collections of the above patrons. The Picassos Are Here! allows us to perceive astonishing correlations between the artist's many periods, from the "Blue Period" to Cubism and the Surrealist-influenced paintings of the 1930s, to the postwar and late works.

In the tradition of Thomas Demand, acclaimed German photographer Frank Kunert (born 1963) spends weeks constructing highly detailed, convincingly realistic models, then photographs them to exacting technical standards to create vibrant images rife with subtle visual puns. Far from being simply satirical or charming, Kunert's miniatures often contain disquieting non-sequiturs: for example, an image of a multistory apartment-building interior seems to exude a kind of petit-bourgeois tristesse with its carpeted balcony railings, a lone flower box and deck chair, but on closer inspection the doors lead nowhere and the balconies cannot be accessed. This volume, first published in 2008 and long out of print, reveals Kunert's enigmatic world.