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The Danish architect and industrial designer Poul Kjaerholm has always been quietly revered in Modernist design circles, but in recent years his work has attained cult status amongst a younger generation of designers and connoisseurs. This exquisite monograph presents a comprehensive retrospective view of Kjaerholm's work, and also shows the history out of which his aesthetic grew. It features seven shorter essays by the American architect and Kjaerholm expert Michael Sheridan, along with several hundred photographs and descriptive copy. It is the deepest and widest ranging study of Kjaerholm's work to date.
An exploration of Scandinavian art and literature created over the past two centuries includes coverage of popular favorites, canonical giants, children's authors, and lesser-known novelists and painters.
Outlines this prominent Danish architect and designer's works.
An essential overview of Jafa's sweeping, dynamic and disquieting video portraits of Black American life Though he has worked in film and music for decades, American video artist Arthur Jafa only garnered acclaim in the art world in 2016 for his video work Love is the Message, the Message is Death. Composed of found images and videos, his oeuvre revolves around Black American culture, the history of slavery, and ongoing structural and physical violence against Black Americans. As Jafa put it in his 2003 text "My Black Death": "The central conundrum of black being (the double bind of our ontological existence) lies in the fact that common misery both defines and limits who we are. Such that o...
Edited by Michael Juul Holm. Text by Richard Shiff, Robert Storr, Maria Fabriciu Hansen, Poul Erik T0jner, Ulrich Wilmes.
A "hypermedium" capable of accommodating almost any sensibility--from the physicality and presence of installed sculpture to the exotic flights of fantasy of the MTV format--video has played a vital role in contemporary art for more than 30 years now. Denmark's esteemed Louisiana Museum of Modern Art caught on to the potential of video art at an early stage, becoming the first museum ever to acquire a work by Nam June Paik in 1974. Since then, the museum has added works by Absalon, Johan Grimonprez, Gary Hill, Paul McCarthy, Sam Taylor-Wood, Runa Islam, Bill Viola, Aernout Mik, Candice Breitz, Peter Land, Salla Tykkä, Doug Aitken and Pipilotti Rist, after whose seminal work this book was aptly named.
Edited by Pierre Bonhomme, Michael Juul Holm and Lars Schwander. Foreword by Poul Erik T0jner. Introduction by Pierre Borhan. Afterword Lars Schwander.
The German artist Daniel Richter (b. 1962) Daniel Richter arrived on the art scene in the 1990s with a highly expressive abstract formal idiom that evoked associations with his earliest artistic career as a designer of for instance album covers for a number of punk rock bands in Germany of the 1980s. Since the years around the turn of the century, however, Richter has exclusively painted figurative pictures, often described ? also by himself ? as a kind of new history painting. But they lack any reproduction of the specific historical events; the pictures seek rather to capture a particular contemporary spirit, marked by the death of the great political utopias. Richter?s paintings are both thematically and formally related to German Expressionism and painters such as Max Beckmann (1884-1950) and George Grosz (1893-1959), who in the years before World War II painted acerbic, humorous and profoundly socially critical, allegorical pictures. Daniel Richter takes a similar approach to painting, which according to him is always ideologically positioned in relation to the surrounding world.00Exhibition: Louisiana Museum of Modern Art, Humlebaek, Denmark (08.09.2016-08.01.2017).