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A premier collection of belts and buckles from around the worldA World of Belts is the fifth book in the series devoted to ethnic jewelery and body ornamentation from the Ghysels collection. Over 40 years in the making, this remarkable collection is made up of over 5,000 extraordinary pieces, each one selected carefully for its value, significance, and innate beauty. This original book documents one of the premier collections of ethnic belts from around in the world in a magnificent array of over 200 pieces including belts, buckles, and accessories such as amulet cases, perfume, and medicine pouches. Unique pieces in this book include pubic and buttocks covers (known as "caches sexes"), needle cases, decorated loincloths, and the carved buttons used to clasp pouches to belts-all in a range of materials and craft techniques that is truly astonishing. Captions describing the provenance and use of each piece accompany the superb photographs. The book also includes a glossary, maps, and a general bibliography.

A pioneer of modernist architecture, Giuseppe Terragni (1904-1943) produced some of Italy's most significant 20th century buildings. Celebrating the centenary of Terragni's birth, Atlas presents a visual record of this influential architect whose work is experiencing renewed international interest. In a short and intense career, Terragni created a small but remarkable group of designs that form the nucleus of the Italian Rationalist school of architecture. Atlas presents the architecture of Terragni through a juxtaposition of archival images and contemporary photographs by Paolo Rosselli. Daniel Libeskind's authoritative and original essay and Rosselli's outstanding photography attest to the importance of Terragni's work and his continued influence on modern architecture.

Chronicling the 50-year history of a famed design firm through the lenses of world-renowned photographersThe international design firm Kartell is especially known for successful product collaborations with stars of contemporary design such as Ron Arad, Antonio Citterio, Enzo Mari, Piero Lissoni, Alberto Meda, Vico Magistretti, and Philippe Starck. kARTell retells the company's 50-year design history through the work of world-renowned photographers such as Bruce Weber and Helmut Newton. Here are 150 Kartell classics like the Bookworm, La Marie, Eros and Mobil, each presented in a kind of visual drama where shapes, materials and colors are altered, transforming familiar objects into even more unexpected designs. Writers and artists like Bob Wilson, Josephine Hart, and David Parsons make for a text as fresh as the photographs themselves. Never has stackable tableware seemed quite so full of personalities; never has a coffee table revealed so many meanings.

This richly illustrated book presents the Jeffrey Montgomery collection of traditional Japanese art, one of the foremost collections of this art in the world. Superb examples of lacquerware and metalwork, basketry, textiles, furniture, masks, sculpture, paintings, toys and ceramics, are organized by medium in five sections. These utilitarian objects of everyday life date from the Muromachi period ((1392-1568) to the early Meiji period (1868-1912), and were crafted by hardworking artisans for farmers, fishermen, town merchants and upper-class elite. The pieces these artisans produced reflect honesty and respect for all things both animate and inanimate: all the objects in the collection possess a unique and inherent quality of timeless beauty. The introduction written by Dr. Edmund de Waal, a potter and a writer whose works are held in many museum collections, focuses on the history of the appreciation of Japanese Folk arts in the West. Indeed, the influence of Japanese folk art on modernist design and on the growth of the craft movement within the West has been extremely important. The book continues with extensive texts written by four highly respected Japanese art historians. The entries are divided into five sections: ceramics, textiles, metalworks, masks, and additional objects (furniture, toys, sculptures, etc.) The book includes a chronology, a map of Japan, and index and bibliography.

These twelve essays by leading architectural critics, sociologists, and designers are devoted to the unusual story of the transformation of residential living space in a country rich with architectural meaning. Home design and construction in Italy shifted after World War II from a base of craftsman builders to medium-size industrial production-a fundamental social change that was directed both by an active base of architectural theory and the culture of domestic life. Italy's design technologies extended the theory and practice of domestic architecture from its artisan characteristics to technologic visions-without breaking the social bond that architecture provides in Italy. Italy, unlike other countries, successfully redefined its "culture of living." The largest part of the anthology addresses issues of design, production, and building, including Beppe Finezzi's "Living Between Art and Architecture" and Frida Doveil's "New Materials and New User Values For the Home." Other essays include "The Landscape of Daily Life" (Francesca Picchi), "A Homeless Country (Andrea Branzi), "Italian Design" (Paola Antonelli). Provocative pieces like "Living in Italy, A Question of Taste" by Franco La Cecla center on the perception of rituals of living in Italy as they are affected by the accelerating design tastes of the last fifty years.

A grand tour of the premier art collections of Italy would require an 1000-mile trip from Milan to Rome over to Venice and down to Naples-and then back to Florence-and long hours in line). Now Italy's foremost art publisher has brought these eight art institutions and their history together in a beautiful and elegantly-priced volume.Here are Italy's premier art institutions presented by their directors, gallery by gallery, including docent selections of major works from each collection, like the Uffizi's Primavera by Botticelli, Leonardo's The Annunciation, and Michaelangelo's Tondo Doni: * The Egyptian Museum, Turin One of the largest collection of Old Kingdom artifacts outside Egypt* Galleria dell'Accademia, Venice The premier collection of northern Italian masters includes the Presentation of the Virgin by Titian, Miracle of the Holy Cross by Carpaccio, the Storm by Giorgione, Portrait of a Man by Lotto, and Titian's Peità* The Uffizi, Florence The world's finest collection of Renaissance masterpieces, among them the Madonna by Giotto, The Battle of San Romano by Paolo Uccello, Pope Leone X by Raphael, and Bacco by Caravaggio* National Archeological Museum, Naples Italy's best public collection of classical art including ceramics from the Magna Grecia period, statuettes and objects of art from Pompeii and Ercolano, Roman portraiture, and the famous mosaic depicting The Battle of Alexander.* Palatina Gallery, Florence Beautiful rooms in the Pitti Palace hold masterpieces of Italian Renaissance painting and decorative arts* Galleria Borghese, Rome Recently restored galleries present paintings by Raphael, Dosso Dossi, and Caravaggio, as well as magnificent sculptures by Bernini and Canova* Capodimonte Museum and Gallery, Naples Includes both Renaissance and Seicento masterworks, Flemish 16th-century tapestries and interior decorations in rococò style* Pinacoteca di Brera, Milan Holds masterpieces by Titan, Caravaggio, Canaletto and other North Italian masters including The Marriage of the Virgin by Raphael, The Dead Christ by Mantegna, and The Supper in Emmaus by CaravaggioAlthough none are the scale of the Louvre or the Metropolitan, taken together these institutions hold a sizeable part of the Western civilization's art heritage. Each institution has its own place in the history of art in the country that invented the museum, presented here in a sumptuous large-format volume with spectacular views of both the masterpieces and the treasure-buildings that hold them.

This book contains a selection of 18 projects completed in North America by American architects and offers the broadest possible overview of the vast and complex architectural output of the 1990s.This decade marked an important transitional phase and the metamorphosis of the work of the American masters of the 1960s and 1970s (e. g. Robert Venturi, Cesar Pelli, Charles Gwathmey) with the full affirmation of new masters (e. g. Frank Gehry, Steven Holl and Peter Eisenman) and the emergence of new generations represented by Asymptote, William and Tsien, Ro. To. and Erik Owen Moss.This journey through contemporary American architecture also tries to tell of a new geographical complexity no longer restricted to the major urban centres - the traditional locations for avant- garde architecture e. g. New York and Los Angeles. It has thus been extended to show the work of the Patkau group in Canada, Will Bruder in Arizona and Antoine Predock in New Mexico as new examples of research attentive to traditional production and to the context. Also of interest are the various building types represented, ranging from new museum complexes (e. g. Richard Meier's Getty Center, Robert Venturi's ethnographic museum in Seattle and Frank Gehry's Weisman Art Center) to residential projects (e. g. Erik Owen Moss's Samitaur, a New York residence by William and Tsien and the Carlson- Reges residence in Los Angeles by Ro. To.) and a number of public works such as Bruder's new library in Phoenix, the extension of the New York Stock Exchange by Asymptote and Steven Holl's chapel of St. Ignatius in Seattle.

This book sets out to investigate the wealth of the artistic production that developed in Central Europe (Austria and Bohemia in particular) in the first half of the 19th century, when Biedermeier appeared as an original attempt to give rise to a "universal" stylistic expression. Its simplicity of line, rigorous and simple although not lacking in elegance and refinement, the appearance of the first craft productions based on standard models and its unquestionable modernity all make Biedermeier the first example of design, the undisputed point of breakdown between Classicism and Modernism. Indeed, it is considered on the most fascinating genres of the 19th century.The volume offers a 360° view of Central European production using more than 300 objects of extraordinary originality, quality and workmanship from the National Gallery and Museum of Decorative and Applied Arts of Prague and from major Bohemian museums. Paintings, furnishings, sculptures, drawings, graphic works, artistic craftsmanship, jewels, ceramics and glassware that decorated the homes of gentry and bourgeois, miniatures, daguerreotypes... Remarkable pieces such as the refined lady's desk, designed and constructed in the workshop of the most important creator of Biedermeier furniture, the Viennese Josef Danhauser (1780- 1829), and a beautiful lyre- shaped secrétaire with walnut veneer and musical motif carvings that overcome the ostentation of Empire style.

In this book the native Venetian art scholar Stefania Mason takes the reader through a critical appraisal of the painter Vittore Carpaccio, focusing primarily on the four superb cycles of paintings he executed under commission from the city's confraternities between 1490 and 1520. What emerges from the author's insightful analysis is Carpaccio's unerring vision of the Venice of his times, deftly woven with complex allegorical allusions to create vast narrative tableaux that catered to the Venetian institutions' keen awareness of the power of imagery. The study begins with the fabled" Life of St Ursula" cycle (1490-c. 1498), now in the Gallerie dell'Accademia in Venice, in which Carpaccio shows his skilled handling of perspective, endowing his canvases with a mixture of recognisable townscapes and imaginary landmarks of medieval stamp, whose visual cues include personages, gestures, customs and ceremonies in a rhythmical interweaving of reality and legend. Next comes the cycle executed for the Scuola di San Giorgio degli Schiavoni (1502-c. 1507), featuring Sts George, Triphun and Jerome, in which an errant knight and a hermit saint lead the observer into a mythical Orient. The masterpiece of the series is the "Vision of St Augustine," where the saint is alone in his study and the disembodied spirit of St Jerome enters by the window in the form of brilliant light illuminating the entire room with its domestic minutiae and panoply of humanistic attributes. No longer "in situ" but dispersed among various museums are the last two series carried out by Carpaccio, this time with assistants: the "Life of the Virgin" cycle for the Scuola degli Albanesi (1502-c. 1507); and the setdepicting the" Life of St Stephen" for the "scuola" dedicated to the saint (1511-20), a remarkable eulogy to stone and its manifold uses in building and sculpture (many of the confraternity's members were stonemasons). The selection of details and close analysis of Carpaccio's canvases afford a cogent visual guide and critical assessment of this great master of Renaissance painting. Born in Venice, Stefania Mason teaches Art History at the University of Udine, Italy, where she is coordinator for doctorates in research and heads specialisation courses in art history. Her work focuses principally on painting and drawing, on the relationship between art, devotion, and patronage, and on Venetian collecting from the 1400s to the 1600s. Among her numerous publications is a monograph on Palma Giovane (1984). A noted art scholar specialised in the history of Venetian painting and sculpture from the 1400s to 1600s, Linda Borean is a regular contributor to leading art journals, including" Arte Veneta" and "The Burlington Magazine."

The notion of the separation between spirit and matter, inferiority and exteriority that runs through all of Western philosophy is the starting point for the work of the American artist Ann Hamilton.Trained as a sculptor, Ann Hamilton has always strived to reconcile body and soul, thought and matter, the living and the inanimate, by creating works that have a great "physicality" made with everyday objects, organic animal, vegetable and human materials which create a sort of microcosm of the vast outer world capable of arousing in the viewer emotions, recollections and sensations.With the introduction by Thierry Raspail and the essays by Jean-Pierre Criqui, Patricia C. Phillips and Thierry Prat, the book spans thirteen years of the American artist's career, from her first exhibition in New York in 1984 up to her most recent works, featuring a selection of the most representative productions, from her early video-films and photographs to her latest, inspiring creations.

Following the wishes of the Catalan artist himself, the aim of the Joan Miro Foundation of Barcelona is to spread knowledge of contemporary art, presents the most important corpus of works by Joan Miro, including over ten thousand pieces, featuring paintings, sculpture, textiles, the entire graphic work, drawings, sketches and notes that exhaustively document the evolution of the great masters's pictorial language.Besides works by Miro, the Foundation also features an interesting collection of contemporary art, with works by Balthus, Duchamp, Ernst, Gonzales, Matisse, Moore, Tanguy and Rauschenberg.The richly illustrated book edited by Rosa Maria Malet is a useful guide to the Joan Miro Foundation, documenting the history of the institution and the building as well as the important periods of the Catalan artist's career, covering the early works, the Parisian period and the works of his later years.

Designed in collaboration with the Weston family, this publication features over 80 works by the four photographers, leaving the leading role to the founder Edward Weston, with 40 of his pictures. These include almost all of his best known masterpieces: from his textural portraits to his nudes celebrating form, from his sand dunes to his plain objects transformed into sculptures, all the way to his famous close-ups of vegetables and shells, that have marked the history of photography of the last century, taking it from the late 19th- to early 20th-century pictorialist vision to an innovative modernist and surrealist figuration that made Edward Weston one of the absolute masters of world photography. Alongside his works, the book includes a selection of about 20 images by his son Brett, certainly the most determined in seeking a possible interpretation of his father's lesson, which he clearly found in landscape, a subject he studied and captured through geometries evoking abstract art. Cole Weston, represented by two further collections, on the other hand distanced himself from his father through the use of colour. Cara Weston - Edward's granddaughter who is still active today - is a refined black and white photographer, offering her personal contemporary take on classical themes.

Published in conjunction with an exhibition opening at the Cincinnati Art Museum, Galloping through Dynasties investigates the history of Chinese horse painting, a subject heretofore not adequately studied. The research has led to new insights into the evolution of Chinese horse painting in both its stylistic and symbolic contents and helps place Chinese horse paintings in their historical contexts through the political and social messages contained within them. Galloping through Dynasties, organized chronologically, explores the following themes: Celestial Horse and Imperial Horse Portraits in Early China, The Song Aesthetics and New Genres of Horse Painting, Transformation of the Horse Image in the Yuan dynasty, and The Symbolic Language of Horse Painting in the Ming and Qing dynasties. The catalogue offers new insights into not only how the Chinese define horses through their concept of nature, but also how Chinese horse paintings evolved in both their stylistic and symbolic contents and formed a symbolic language to convey political and social messages. The new findings on the historical development of Chinese animal painting filled a major gap and resolved much of the confusion in the symbolic contents.

Seen as a great artist in Colombia, elsewhere Bursztyn has remained relatively unknown. The publication is a comprehensive survey on pioneering art practice of Bursztyn and seeks to reflect on and animate new tendencies in research on Feliza Bursztyn and her vibrant body of work. It features texts by prominent writers, researchers and curators - Julia Buenaventura, Cecilia Fajardo-Hill, Camilo Leyva, Daniel Muzyczuk, Lucas Ospina, Sylvia Suárez, Gina McDaniel Tarver, Lynn Zelevansky - and rarely published archive materials. The publication inaugurates the Muzeum Susch and Skira Editore's series dedicated to re-discovering women artists overlooked by the main canons of art history. A pioneer in kinetic sculpture, Feliza Bursztyn (1933, Bogota-1982, Paris) created wrecked metal sculptures with ghostlike yet comical humanoid traits that addressed the social effects caused by the aggressive modernization of Colombian society. Composed of industrial junk, often motor-animated, these works perform a theater of dystopian industrial hybrids. Bursztyn's immersive installations are characterized by their disconcerting mechanical sound produced by the frenetic vibration of the sculptures, as well as by occasional music scores accompanying the pieces. The artist's works and sculptural mise-en-scènes enact sites of aesthetic resistance and antithetical political investment, creating a unique experience that raises awareness on the situation and the perception of women in a male-dominated society and reveal the troublesome face of modernity.

In 2015, the Graham Foundation, in partnership with the Chicago Architecture Biennial, presented Barbara Kasten: Stages, the first major survey of the work of the Chicago-based artist. The exhibition spanned her nearly five-decade engagement with abstraction, light, and architectural form. Since the 1970s, Kasten (b. 1936) has developed her expansive photographic practice through the lens of sculpture, painting, theatre, textile, and installation. Well-known within photographic and contemporary art discourse, the artist has recently begun to be reconsidered within the broader context of architectural theory. This book, Barbara Kasten: Architecture & Film (2015-2020), concretizes this legacy within the artist's practice and contextualizes her ongoing investigations into how moving images and perception play within and through architectural forms. Departing from Stages, the publication includes texts that encompass Kasten's work and exhibitions within the last five years while connecting to the artist's history of experimentations with light, including the influence of architect Le Corbusier, as well as site-specific responses to Shigeru Ban and Mies van der Rohe. Replete with full-colour plates, this book features a long-form interview with Hans Ulrich Obrist, whose Chicago Marathon stage in 2019 was designed by Kasten; a two-part essay by artist Irena Haiduk on the construction of the camera and the artist's collaborations with corporate entities such as Polaroid; a feminist examination of the Bauhaus from architecture critic and curator Mimi Zeiger; relationships between Kasten's constructions and mid-century architects from Mexico and Brazil by Humberto Moro; and a speculative investigation into historical moments that provide a 'stage' through which to consider Kasten's formulations of space as cinema by editor Cristello.

Photographing Art presents a selection of photographs taken by the Mexican-German photographer between 1974 and 2018. An unmissable testimony of the world of contemporary art, with its emotions, relations, moments of joy and hard work, the encounters, the connections, and the sense of being part of a community lined with an artist's creative solitude. These are the contents and themes emerging from the pages of this book, a publication that is a testimony to its time, with its artistic expressions and everchanging trends. Photo-moments overlooked by news, media, art catalogues, and history of art, but immortalized by a close observer of the evolutions of contemporary research also thanks to his wife, the curator Adelina Cüberyan von Fürstenberg who can be credited for some of the most significant moments of international art. With his camera Egon witnessed what was going on in the art world but not from an institutional angle, capturing the facade, but immortalizing the spirit that made art and artists thrive. Attentive to every idea, detail or movement, every anticipated or unexpected moment, Franz Egon von Fürstenberg's camera captured the instant, the fleeting moment when a person feels free and natural, not framed or posing as a celebrity. The pictures in the book depict several artists, many of whom are among the most interesting personalities of our time, such as Andy Warhol, Joseph Beuys, Marina Abramovic, Jannis Kounellis, Mario and Marisa Merz, Chen Zhen, Ilya and Emilia Kabakov. Born in 1939 in Berlin, Franz Egon von Fürstenberg worked as assistant to designer Pierre Cardin in Paris and then to photographer Alain de Ferron in Geneva, where he met and married his lifelong companion Adelina Cüberyan. Over the years he collaborated with many artists and several art spaces around the world and his photos have been published in magazines, papers and art catalogues. His archives are a source of inestimable memories helping us understand the origins of those encounters, exhibitions, connections and developments that have unfolded throughout the generations over the course of four decades, giving rise to our present contemporary art world.

Much has been written about 16th- and 17th-century Italian painting, but the contribution of the women artists of that period has often been overlooked: extraordinary figures with incredible and often obscure personal stories. The Ladies of Art sheds light on these artists and their lives, on the role they played in their day, and how some of them made a name for themselves in the great international courts: extraordinary women, who overcame social stereotypes and who have not yet received the attention they deserve. This book describes the art and lives of thirty-four women artists, starting from Artemisia Gentileschi - the first woman artist whose work constituted a watershed able to question certain gender prejudices - followed by other famous Italian women painters, such as Sofonisba Anguissola -the Lombard painter appreciated by Van Dyck -, Lavinia Fontana, Fede Galizia, Marietta Robusti, known as "la Tintoretta?, and many others. Admiring the over 130 works on the pages of this book we can appreciate the artistic greatness of these long-forgotten artists as well as the problematic nature of a historical period that did not favour women's professional affirmation and recognition. Stories of women that offer a reading beyond stereotypes and capable of questioning behavioural models. Women who challenged prejudices, deconstructed restraining clichés, and who found their expression in painting.

For over 35 years Tasset has held a unique position in the lexicon of contemporary art with a remarkably diverse body of art. A self described art nerd, Tasset's imagery comes from his wide ranging knowledge and empathy for all types of art. He once said, "I'm not going for originality, I'm striving for the quintessential." The artist's spectacular objects unlock memories. He revels in demonstrating the similarity between the grandest artistic gesture and the humblest child's scribble. With a satirist disposition he interrogates institutions-galleries, museums, public art and even his own position of power. His art has intentionally quoted from high modernism, folk, vernacular and performance art. This egalitarian ethic has led to a diverse group of iconic artworks and beloved permanent public sculptures. Born in Cincinnati and spending the last forty years in Chicago, Anthony Tasset embodies a midwestern plain-spoken, kind hearted scepticism. Never passive, his art compels a reaction, it can be cutting, even cruel, but it can also be as tender as a Neil Young song, often at the same time. This 250 page, hardcover book contains 200 reproductions chosen by the artist, and extensive essays by Michelle Grabner and Andrew Russeth. In addition, Tasset has invited artists he greatly admires; Jeanne Dunning, Pamela Fraser, Judy Ledgerwood, Jose` Lerma, Inigo Manglano-Ovalle, Cauleen Smith, Phillip Vanderhyden and John Waters to chose and write on one of his works.

Finally on the way, the Catalogue Raisonné of Ceramic Sculptures is the most complete and updated publication exploring this fundamental ambit of Lucio Fontana's research and production. The result of a project shared with Enrico Crispolti, curator of the entire Catalogue Raisonné collection of Fontana's work, this impressive publication is edited by Luca Massimo Barbero - eminent scholar specializing in Fontana's oeuvre and curator of the Catalogue Raisonné of Works on Paper - in collaboration with Silvia Ardemagni and Maria Villa. An essential and updated research tool, this Catalogue Raisonné is the result of the painstakingly accurate archiving and cataloguing activities carried out by Fondazione Lucio Fontana over more than fifty years, presenting a selection of about 2000 ceramic works made between 1936 and 1966. Organized in chronological and thematic order, within the two formal "hemispheres" explored by Fontana's extraordinary earthenware production - the Figurative and the Spatial - works are accompanied by entries offering a precise listing of bibliographical and exhibition references. Page after page the volume explores the artist's vast creativity disseminated with experimentations finding an ideal expression in ceramic works investigating and putting into practice an ideal relation between form, colour, matter and space. The publication includes an extensive and analytical essay by Luca Massimo Barbero, offering an exact survey that for the first time highlights and defines Fontana's exceptional inventive capacity, as well as his role as key player in the 20th-century contemporary art scenario. For this occasion, bibliographical insights are paired with new research and studies on the author's biography.

Published on the occasion of burn shine fly, presented during the 59th International Art Exhibition - La Biennale di Venezia 2022, the project title is derived from the book of poetry and prose You got to burn to shine by John Giorno, the late American poet and partner of the artist. The publication surveys a number of Rondinone's most iconic bodies of work brought together at the Scuola Grande di San Giovanni Evangelista, as well as insights to new work specifically created for this project; conveying the distinct sensitivity and site-specific discourse with which the artist approaches exhibition-making. Encompassing a diverse array of media, burn shine fly mediates themes that have come to define the artist's practice over the past three decades. Primarily the enduring exploration of the multivalent potentials for the physical to express the metaphysical, spiritual, and transcendental, of which he has stated: 'the work aims to coax the sublime from the subliminal. It should dazzle us and then send us into deep reflection about the marvels and mysteries of life.' Founded in 1261, Scuola Grande di San Giovanni Evangelista is the oldest known confraternity in Venice, and as such sustains the richness and diversity of the city's history. Located in San Polo district at the heart of the city, its walls have housed treasures ranging from venerated relics of the cross of Jesus Christ to works by Venetian Renaissance Masters including Titian, Vittore Carpaccio, and Giovanni Bellini.