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Black Paintings
Ende der 1940er-Jahre beschäftigten sich berühmte Künstler der New York School - Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Frank Stella und Barnett Newman - intensiv mit der Farbe Schwarz. Es entstand eine erstaunliche Anzahl von nahezu monochromen schwarzen Bildserien, die heute zu den Glanzstücken international bedeutender Sammlungen wie dem Whitney Museum in New York zählen und in Black Paintings erstmals vereint gezeigt werden. Die Publikation mit einem fundierten Essay von Stephanie Rosenthal beleuchtet Unterschiede und Gemeinsamkeiten der im New York der Nachkriegszeit entstandenen Werke und verfolgt die Frage, welche Bedeutung sie im gesamten Schaffen der Künstler einnehmen. Einen der Ausgangspunkte des Buches bildet dabei die These, dass die schwarzen Gemälde für Durchbrüche und Übergänge im OEuvre der Maler stehen. (Englische Ausgabe ISBN 978-3-7757-1860-8) Ausstellung: Haus der Kunst, München 15.9.2006-14.1.2007
The Place of No Roads
"A visitor to a small town in the utmost North that has lost its entire population is met by a surprising, subjective vision. The abandoned coal-mining community beneath the mysterious, pyramid-shaped mountain appears to him not as a depressing, man-made scar on the Arctic landscape, but as a formerly harmonious commonwealth where quantity had given way to quality, and where competitive hierarchies had been abolished in favor of equality. It is as if the town's remote location had not been a source of misery, but instead had mad it a self-sufficient community, in both form and content." "Here, money was deprived of all meaning and had consequently been abandoned altogether as a medium of transaction. In the visitor's dream-soaked mind, the town had once qualified as a utopia in many respects, not least for having failed to exist. In looking for something nonexistent, it is the searching and the dreaming that matter. This collection of photographs is a ballad to all ways of life, and is dedicated to dreams." --Book Jacket.
Cindy Sherman
"An in-depth look at the disturbing and abject sides of the American photo artist's oeuvre. Throughout her career, Cindy Sherman (*1954 in Glen Ridge, New Jersey) has been interested in the derailed and deviant sides of human nature, noticeable both in her selection of subject matter (fairytales, disasters, sex, horror, and surrealism) and in her disquieting interpretations of well-established photographic genres, such as film stills, fashion photography, and society portraiture. This richly illustrated publication seeks to highlight and acknowledge these aspects of her work based on selected examples and accompanied by texts by well-known authors, filmmakers, and artists who likewise deal with the grotesque, the uncanny, and the extraordinary in their artistic practice."--Publisher's website.
Arwed Messmer: Berlin, Fruchtstraße on March 27 1952
A photographic portrait of a single boulevard in Berlin, taken before the buildings' demolition In 1952, East Berlin's municipal authorities commissioned Fritz Tiedemann to photograph a section of Fruchtstraße, where the buildings were set for demolition in the following decades. In this volume, German photographer Arwed Messmer (born 1964) assembles 32 archival images into a panoramic portrait of a bygone place.
Gustave Courbet
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Kunstmuseum Basel, New Building
In April 2016, the Kunstmuseum Basel is opening its new building, increasing its exhibition space by approximately two thirds. Designed by the architectural office Christ & Gantenbein, the building is completely in the service of art-solitary in its outward appearance, it is nevertheless closely linked to the Kunstmuseum, both in formal terms as well as by means of an underground connecting tract. This publication introduces the building in all of its facets for the first time. In extensive texts, the director of the Kunstmuseum Basel, Bernhard Mendes Bürgi, and the architect Emanuel Christ describe the concept as well as the content-related and artistic aspects of this new building; Mechtild Widrich looks at it in the general context of museum architecture. Layout drawings and numerous illustrations complete the overview.
Expanded Animation
The symposium Expanded Animation was initiated in 2013 and offered a first approach to the expanded field of computer animation. In the meantime, it has become an established part of the Ars Electronica Animation Festival and the international competition Prix Ars Electronica Computer Animation. Every year under an overarching theme, the symposium has researched the field of technology and art, animation and aesthetics, investigated the collapsing boundaries in digital animation and explored positions and future trends. Much like the first conferences on computer animation at Ars Electronica in the 1980s, practice and theory are equally important. The richly illustrated publication Expanded Animation. The Anthology features contributions from speakers and artist positions from the past five years and presents an overview of the prize winners in Computer Animation.
Renée Green
Catalog of an exhibition held in Berlin, at the KW Institute for Contemporary Art and the daadgalerie, October 22, 2021 to January 9, 2022.
The Aestheticization of History and the Butterfly Effect
'The Aestheticization of History and the Butterfly Effect: Visual Arts Series' introduces the audience to philosophical concepts that broach the beginning of the history of Western thought in Plato and Aristotle to that of more modern thought in the theoretician Jacques Rancière in which the main conceptual framework of this anthology is predicated. The introduction is mainly concerned with Rancière’s concept of the distribution of the sensible, which is the arrangement of things accessible to our senses, what we experience in real-time and space— compartmentalization and categorization of all things. These things do not just involve tangible items, but audible speech, written language...
Photography, Trace, and Trauma
Exposure -- Indexicality: a trauma of signification -- Analogue: on Zoe Leonard and Tacita Dean -- Rubbing, casting, making strange -- Index, diagram, graphic trace -- The "unrepresentable"--Invisible traces: postscript on Thomas Demand
