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Eva Berendes: Thoughts and Feelings
Eva Berendes arbeitet mit Malerei als Medium, um ihr Produktionsfeld zu weiten. Sie dehnt das Medium auf Skulpturen und in den öffentlichen Raum aus. Mit dieser künstlerischen Methodik befragt sie nicht nur die Mittel der Bilderzeugung, sondern versteht es geschickt, deren Basis in einen Dialog von Architektur, städtischer Infrastruktur oder Alltagsgegenständen zu führen. Dazu verwendet sie wie im Fall des vorliegenden Künstlerbuches verschiedene Stoffe, bemalte und unbearbeitete, die sie dann beschneidet, miteinander verbindet, indem sie diese grob vernäht oder übereinander drapiert und mit Kopfstecknadeln fixiert. Solcherlei Zusammenführungen von Eva Berendes waren bereits in Bonn objekthaft vor dem Kunstmuseum zu sehen, als sie den Bonner Kunstpreis 2021 erhielt und im Innen- und Außenraum ihre Arbeiten wie Architekturfragment oder Fassadenteile inszenierte. Das hat etwas Fluides, obwohl es sich um feste Materialien handelt. Diese können allerdings vielfältigen Wandlungen unterzogen werden, sodass ihnen ihre Sinn- und Formhaftigkeit abhandenkommen kann - dann gehen die Objekte fliegen!
Bildungsmanagement in Unternehmen
Ilona Dieser geht der Frage nach, wie das Bildungsmanagement in seiner neuen Bedeutung als komplexe Managementaufgabe auf der normativen und strategischen Ebene in Unternehmen konzeptualisiert werden kann.
Hornbook
"The special thing about hornbook ... is the sequencing of the 165 images in this volume, which is appropriate to his method of working and exhibition practice. Namely, the artist creates series of images, clusters or rhythms in order to distinguish the marks in his images as form and color signals without messages. He himself commented on the matter, saying that one sees only that which comes across via the subjective mood. The images have no narrative and are also not intended for the processing of abstractions. You can either perceive them physically, or reject them."--
Samples for Pieces - Maybe
Industrially prefabricated objects dominate works by Birgit Werres, yet they enter into heterogeneous combinations with additional elements made by the artist. Birgit Werres finds her materials in warehouses and at industrial production sites, where she encounters the things that arouse her aesthetic interest, which has been fine-tuned for many years. She initially studied under Tony Cragg, before graduating from Irmin Kamp's class. Her rededication of profane figurativeness is carried out in sequences, stratifications, or composite materials. In such works, the artist continues to expand on formal characteristics such as volume, texture, and structure. The striking intrinsic color of the materials tends to be of great significance. In contrast to the monumental corporeality of the objects, it additionally obscures the origin, function, and properties of the material. Her unconventional sculptures and installations are quite often mentioned in reference to works by Robert Smithson, Barry Le Va, Richard Artschwager, and Richard Serra.
Seeds & Tracks and Folded Spirits
Part of the Kienbaum Artists' Books series, this illustrated hardcover compiles drawings and diary entries from 2011 made during an inspiring sojourn in South Africa by the multi-faceted German artist Jürgen Partenheimer. His writing complements the subtle nuances, delicate lines and tones of his graphic work, oils, graphite on canvas and sculptures in bronze, wood or wire. The symbolic essence of Partenheimer's work is the fragility that derives from the line, visible even in his great stele towering some seven meters above the ground. Now based near Cologne, Partenheimer has long been noted for his literary endeavors, such as his diary when he was guest artist at the famous residential complex designed by Oscar Niemeyer in São Paulo, or his drawings and notes from 2007, when he was invited to the Nietzsche House in Sils-Maria. Writings by Jürgen Partenheimer and Bronwyn Law-Viljoen.
It's Just a Certain Sound I'm After
It took a long time for the painter Richard Allen Morris - born in 1933 in Long Beach - to be finally discovered. The self-taught artist with his object-like colour reliefs and material paintings was considered to be more a painter's painter until two retrospectives were held in 2004 in the Museum Haus Lange, Krefeld and the Museum of Contemporary Art, San Diego respectively. Colleagues such as David Reed or John Baldessari valued and value the work of this fine ironist, who has been naming his groups of motifs Heads±, Jaws± or Ray Guns± in paintings and painted objects for years now. The current volume is the second publication in the Kienbaum's Artist Books± series and is intended not merely to provide an insight into the collection, but also and above all to impart comprehensive detail on a specific artistic position in a high-quality format once a year. An informative interview with the artist accompanies approximately 60 illustrations.
Neue Finanzierungswege für den Mittelstand
Das Buch bietet einen Überblick über künftige Strukturen und Wege der Fremdfinanzierung, des Forderungsverkaufs und der Verbriefung sowie der (Eigenkapital-)Finanzierung über betriebliche Altersversorgung.
Jonathan Lasker: From Drawings and White Form Paintings
Jonathan Lasker's work is often considered bizarre, yet it is one of the most influential in contemporary abstract art. In the late 1970s and early 1980s, a period when everything was in flux, when Abstract Expressionism, Minimalism, and Color Field painting were no longer formally binding, Lasker succeeded like no one else in realizing themes such as referentiality, figuration, genuine materiality and corporeality, even aspects of the decorative and pictorial. The tastefully executed paintings and carefully crafted objects of the 1960s had reached the end of their days in terms of form; there was a recourse to styles and materials that not only served artists as art historical sources but as New Image painting, patterns, and decorations, and resulted in new artistic content. In short, abstraction as understood and applied by Jonathan Lasker had reached the postmodern age. This volume shows a series of beautiful preliminary studies of this process on paper, as well as large-format oil paintings from 1977 to 1981 that demonstrate their their radical pictorial implementation.
