Bøger udgivet af Kehrer Verlag

Finding Bones introduces a newly rediscovered body of work by Grey Crawford. It's an anthology of photographs that embody the creative spirit that was prevalent throughout the Los Angeles art scene at the time. Southern California in the early 1970s was an island of its own creation: a mixture of surf, sea, and concrete highways winding around an ever-changing cultural climate, it challenged assumptions of the definition of art. Crawford chooses his backgrounds with a sense of austerity as a means for introducing these hard-edged shapes and using them as the building blocks for his own language.

Many have a deep passion for books, cherishing their form and content equally. Even the electronic book has not been able to change this. For books are more than a medium offering a container for words. This is the starting point for the German artist Dorothea Reese-Heim, who in 1983 discovered paper and later the book for her own art. The poetic forms Dorothea Reese-Heim finds to bring the book's aesthetic peculiarities to expression are of great beauty.Itself a book about books, this publication therefore exploits to the fullest the entire potential of its possibilities of representation, thus permitting the rich spectrum of Dorothea Reese-Heim's subtle and sensitive works to pass in lively review before our eyes. To this end, the essay by Karen Meetz literally grasps the body of the book. On the one hand, an aesthetic analysis clearly illuminates the effects of these remarkable book objects, while, on the other hand, the text plumbs the topic's manifold art-historical and cultural-historical ramifications.

At the first glance, we seem to be viewing realistic scenes. Pictures shaped by a sexual obsession and corresponding to the directness of their motifs. Nudes, copulation scenes, and blow jobs as we know them from hardcore or softcore pornography--protagonists radiating a super-cooled beauty!Does the eroticism now break down because we see our projections reflected from the bodies of dolls? We conceal the confusing realization with a reflex: Ah, we already know this, Cindy Sherman, Louise Bourgois and Walter Pfeiffer have already introduced it! The art pigeonhole helps shield us from succumbing to the peculiar aesthetic experience of the beauty of a well-staged plastic belly or of a back-lit male organ. Gabriela Domeisen's photographs do not resolve this ambivalence--on the contrary: they solidify the peculiar experience of projection as an aesthetic experience.

What has become of the fabled Walden Pond? In his debut title, S. B. Walker surveys the symbolically charged landscape of literary giant Henry David Thoreau. Deeply rooted in the American collective consciousness, it is a mythical place perceived as wild and often considered to be the birthplace of the modern environmental movement. Contemporary Walden, however, is perhaps best characterized as a glorified suburban park, nestled amongst the sprawl of metropolitan Boston. As our awareness of the place is borne out of Thoreau's description some 150 years ago, the current state of affairs portrayed in Walker's images reveals a thought-provoking paradox.

The nudes in the paintings of Swiss artist Dieter Hall are remarkable in that they don't appear as such. Hall -locates his figures in a curious realm between intimacy and anonymous normality, their nakedness displayed without voyeurism or classical exaltation. Existential themes such as sexuality and tenderness, disease, aging, and death are alluded to in the delicate depiction of the individual.On the occasion of his noted exhibition in the Solothurn Art Museum, this book presents an extensive series of pastels from 1998-2000 - bath- and bedroom interiors where male figures are drying off, sitting nude, or lying in bed.Dieter Hall, born in 1955 in Zurich, Switzerland, has lived and worked in New York for almost twenty years now. Since 1987, he has exhibited in several museums and galleries in Switzerland, South Africa, Santa Monica, and New York.

Gottmann's urban photography shows architecture and human beings, both mysteriously blurred and strangely disconnected from one another. He creates photographic metaphors that evoke a general, self-inflicted anguish inherent in modern Western society: Façades rise impressively into the sky, leading the eye into deep skyscraper canyons, while silhouettes of the human figure seem fragile and helpless. The question arises whether society is still in command of its self-established, modern values or if it's suffering from them.

DAS AUF AMAZON.DE ANGEGEBENE ERSCHEINUNGSDATUM BEZIEHT SICH NUR AUF USA. DER TITEL IST IN EUROPA AB NOVEMBER 2016 LIEFERBAR, AUCH DURCH AMAZON.DE /THE PUBLICATION DATE INDICATED HERE IS ONLY FOR USA. THIS TITLE IS AVAILABLE IN EUROPE FROM NOVEMBER 2016, ALSO ON AMAZON.DERudi Weissenstein (1910 - 1992) was the most prominent chronicler of everyday life in the young state of Israel and his photographs are essential to understanding the country's social history. Primarily taken between the 1930s and the 1970s, Weissenstein's photographs capture a multifaceted Israel during the early years of its formation. After taking over Pri-Or PhotoHouse in Tel Aviv in 1940 he developed it into a renowned cultural institution and created the largest private photo archive in Israel, containing more than one million negatives. It is now run by Weissenstein's grandson Ben Peter, one of the editors of this book.

The German Christina Kubisch belongs to the first generation of sound artists. Trained as a composer, she has artistically developed such techniques as magnetic induction to realize her room-related installations of sound, light and music. Since the '70s, Kubisch has explored the possibilities of sound; today, she is one of the most important artists in her field. This book provides a comprehensive overview of her work between 1980 and 2000; the included CD-ROM contains remixes of installations and previously unreleased compositions.Christina Kubisch, born in 1948, studied painting, music, and electronics. Since 1973, she has exhibited in various international museums and galleries, e.g. documenta 1987. She is a Professor of Sculpture and Media Art at the Academy of Fine Arts, Saarbrücken, Germany.

The New York-born artist deals with our conception of a complex world increasingly dominated by mass media.Asking the question, if human perception and memory can live up to the information offered, his video art plays games with our curiosity and will to decipher the unknown. Our limits of apprehension are being tested, for example, by keeping the pace of displayed words and images constantly too fast, so that the attempt to make sense of a flood of information is bound to fail.

Ingrid Mwangi is an artist of Kenyan origin, living in Germany since she was fifteen. In her videos, installations, performances, and photo works, Mwangi incessantly explores her blackness as well as her biracial heritage. Her works document the journey to herself, dealing with deeply rooted patterns of behavior and attitudes that lead to social, political, and cultural stigmatization. As a self-confident -person, the young media performer explores and presents her own corporeality determined by her body, her skin, her dreadlocks, and her voice. The unmediated experience of cultural differences has allowed Mwangi to develop a special sensitivity that generates an artistic prism through which she view herself and the world.

DAS AUF AMAZON.DE ANGEGEBENE ERSCHEINUNGSDATUM BEZIEHT SICH NUR AUF USA. DER TITEL IST IN EUROPA AB NOVEMBER 2016 LIEFERBAR, AUCH DURCH AMAZON.DE /THE PUBLICATION DATE INDICATED HERE IS ONLY FOR USA. THIS TITLE IS AVAILABLE IN EUROPE FROM NOVEMBER 2016, ALSO ON AMAZON.DEFrom 1987 to 1991, Jeffrey Wolin made hundreds of portraits showing residents of Bloomington's, Indiana, housing projects, known as "Pigeon Hill." At the time there was much discussion about the problems of the welfare state with crime, drug abuse, and enduring poverty. Over the past five years Wolin re-photographed over 100 individuals. His focus is on the faces themselves paired with the earlier portraits. One can see the effects of the passing of time and the ways in which experiences in life--good and bad--are written into these open and expressive faces.

With Carl Philipp Fohr and Carl Rottmann the Third of the Heidelberg romantic painters, Ernst Fries reached a significant artistic zenith, especially during his stay in Italy from 1923 to 1927. This index of works lists all works by Ernst Fries known to date.Sigrid Wechssler worked for many years as a museum curator and specialized in the German Romantic period. Her decades of research on Ernst Fries are condensed and concentrated in this volume.

This high-quality catalogue book is a visual delight for aficionados of the German Romantic period: it presents a rich array of drawings, oil studies, and oil paintings by the German landscape painter Johann Heinrich Schilbach, who found his motifs in Rome, Olevano, the Gulf of Naples and, after his return from Italy, his Hessian home region. Consistently and masterfully, he brought the southern light and the ephemerality of the appearance of the sky to manifestation.

Through black and white images and prose sketches, this book takes readers on a journey to discover a world largely lost today, among people deeply at home with their old ways, in remote hill towns in south-central Italy. Mauro Marinelli's stark, yet lyrical, photographs reveal the beauty and wonder in small things--a foot on the stair, sunlight on a wall, the flower pot atop a confessional. Rob Lloyd's sensual and meditative prose sketches include historical reveries, street scenes, snippets of overheard conversations, and private moments, real and imagined.

"Works with Sound" presents a complex body of work, comprising thirty years of sculptures, drawings, environments, and performances. Fox, who since the 1960s radically rejected traditional art forms and sought new ways of artistic expression, has been increasingly concerned with investigating the seldom-observed energetic aspects of materials. Hence, sound gained a central significance in his works. The artist is dedicated to finding sounds that make energies palpable and connect the listener and his physical surroundings.

Irrational images flash through our minds all the time, in dreams and daydreams. Ahndraya Parlato's work imagines an oscillation between these "internal" and "external" images, revealing the possibilities of different realities. Combining ten years' worth of images, this book draws on Parlato's experience of being raised by a single mother who was mentally ill. Parlato was put in the position of having to decide whether her mother's observations and fears were real or imagined. These photographs allow her to move between various realities, acknowledging the validity of her mother's world, while also questioning the boundaries of normal, abnormal, sane, and insane.

The Danish art school was founded in 1961 by Poul Gernes and can be compared to Bauhaus and Black Mountain College. It was in contact with Joseph Beuys, Henry Flynt, and Nam June Paik, and evolved into an art grouping that included names like Henning Christiansen, Per Kirkeby, and Bjørn Nørgaard.

German photographer Achim Lippoth makes pictures of children that are as charming as they are creepy. His sceneries seem filled with perfectly composed calm, but at the same time with an explosive power that must detonate in the next second. Lippoth has received numerous awards, most recently Professional Photographer of the Year 2005 with Loretta Lux.

Gudrun Kemsa's photographic pictures and videos are works on space, time, and motion. Kemsa has long been an insider tip among the photography stars of Düsseldorf, like Thomas Struth, Candida Höfer, and Andreas Gursky. Moving Images presents her new work series. On huge panorama formats, people appear arranged like sculptural settings in an unbounded, timeless, pictorial space.

Beginning with an "education" at the elbow of his friend William Eggleston, this "ballade photographique" traces David Julian Leonard's paths across twenty years from his American birthplace in Memphis to his adopted French home of Arles. His storytelling choices are equally informed by his work on documentary films as a cinematographer and editor. For this collection of photographs he offers no formal thesis, only an invitation to open our eyes and take the ride through a startling mélange of candid moments and surreal scenes captured by the camera.This book features an introduction by the renowned New York-based photography collector and curator W.M Hunt.DAS AUF AMAZON.DE ANGEGEBENE ERSCHEINUNGDATUM BEZIEHT SICH NUR AUF USA. DER TITEL IST IN EUROPA AB MAI LIEFERBAR, AUCH DURCH AMAZON.DE /THE PUBLICATION DATE INDICATED HERE IS ONLY FOR USA. THIS TITLE IS AVAILABLE IN EUROPE IN MAY, ALSO ON AMAZON.DE

The installation artist Arnold Dreyblatt is renowned for his media- and archive-supported works concerned with cultural memory. The collection Innocent Questions addresses Dreyblatt's most recent work, which focuses on the question of the violation of personal rights in the present day. Using an oversized punch card, he shapes the façade of the Holocaust museum and Research Center in Oslo, Norway.

Jim Dine ranks alongside figures such as Andy Warhol, Roy Lichtenstein, and Wayne Thibaud as one of the celebrated stars of American Pop Art. The self-portraits, which Dine began painting in the 1950s, serve to catalyze an independent, intense, and surprising dialog with the artist and his output. And Dine's diverse experiments with a wide range of techniques and materials address themes including youth and old age, intimacy and extroversion, and seriality and creativity on paper--enabling these self-portraits to open up new insights into a supposedly familiar oeuvre. The book presents a selection of almost one hundred fascinating self-portraits.

Since 1985, Alan Luft has been documenting the city and its inhabitants: "Berlin today is a diverse mix of people, and I think it represents what the future will look like elsewhere. History is about individuals adapting, changing, and moving from one place to another."

In the center of Ansgar Nierhoff's numerous prizewinning designs for monuments and squares has always been the question of how sculpture affects people in specific sites.This publication illuminates not only the actual core of Nierhoff's oeuvre, but also provides important stimuli for thinking about "art in public space" and about the issue of public and private engagement for culture.

Leta Peer's melancholic, strangely bewitching pictures remind us of the paintings of the romantics, of their assumed harmonization of nature with humans. Yet they confront us with exploitation and aestheticism of nature.The term "disturbing beauty"--no matter how inflationary it has been used in other contexts--is perhaps the most fitting description of this complex work.

For years, Montréal photographer Normand Rajotte has been exploring an area of a few square kilometers at the foot of Mont Mégantic, near La Patrie, a village in south-eastern Québec, Canada. Produced between 2004 and 2010, the series Comme un murmure (Like a whisper) reveals the profound connection that the artist has established over the years with this woodland.Little by little, image after image, Rajotte has taken root in these several hectares of woods, to the point of merging with them. Observing the growth of vegetation or traces of animal activity, he photographs the perpetual transformation of "his" forest. Comme un murmure testifies to the powerful feeling that unites man and animal, when one rejoins the other as he immerses himself deeply into nature.DAS AUF AMAZON.DE ANGEGEBENE ERSCHEINUNGDATUM BEZIEHT SICH NUR AUF USA. DER TITEL IST IN EUROPA BEREITS LIEFERBAR, AUCH DURCH AMAZON.DE /THE PUBLICATION DATE INDICATED HERE IS ONLY FOR USA. THIS TITLE IS ALREADY AVAILABLE IN EUROPE, ALSO ON AMAZON.DE

The volume Deep Action: Wolfgang Petrick and master students from 1975 to 2005 unites 25 artists who have not only quite diverse positions, but also live and work scattered across different continents.However, for the exhibition in Berlin's Georg-Kolbe Museum and this publication they all come back to where they studied. Includes the Germans Alexander Roob and Michael Schulze, Yusob Kim from Korea, Mark Hipper from South Africa, Arturo Miranda from Mexico City, and many others.Common to all the participants is that they studied with Wolfgang Petrick--one of the most important figures of critical realism in the 1970s. The forms of expression of the "ex-Petrickates" are not only many-faceted; the encounter among their different conceptions also results in some explosive constellations.

The retrospective of Icelandic artist Sigrún Ólafsdóttir comprises her wooden and metal sculptures as well as her graphic oeuvre. Ólafsdóttir's elegant and dynamic sculptural works can be ample in size, yet they never lose their perfect proportions. They are balanced in a way the viewer cannot tell whether he witnesses a precarious or a stable equilibrium. Weight and lightness as opposed forces are united in the artist's works, bearing the aspect of inherent movement.

Four positions of nonrepresentational painting from Iceland and New Zealand relate to classical positions of modernist abstract painting. The character of this reference--with Stephen Bambury the recourse to Malevich, with Judy Millar the relationship to Pollock, with Ingólfur Arnarsson the investigation of the category of the sublime, and with Tumi Magnússon the reference to Barnett Newman--is completely different: affirmative or critical, ironic or contradicting.

Throughout history man has never before felt so insecure about the space that surrounds him, and never before has he been so aware of it. Elvira Hufschmid's performance/video actions and installations operate between the poetic traces of gesture and the phenomenological presence of bodies situated in space. From her earlier work reprising Duchamp's Nude Descending a Staircase to her recent work, she has developed an atlas of body actions in landscape, architecture, and infrastructure.