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How Evil Is Pop Art?
This richly illustrated catalogue is published on the occasion of the group exhibition curated by Tobia Bezzola 'How Evil Is Pop Art? New European Realism 1959-1966', at the Spazio -1. Collezione Giancarlo e Danna Olgiati, which stems from the desire to re-read the European Pop phenomenon via a sophisticated selection of works thanks to the encounter between two private collections: the Collezione Giancarlo e Danna Olgiati, and one of the foremost private collections of this artistic current. With forty-two works, all of which executed between 1959 and 1966, the show compares the works of thirty-one artists, including pioneers of early British Pop such as Peter Blake, Pauline Boty, Allen Jones, and David Hockney, alongside some of the major exponents of French Nouveau Réalisme, names like Martial Raysse, Jean Tinguely, Niki de Saint Phalle, and Daniel Spoerri; also on display are the works of Peter Klasen and Konrad Lueg representing a radical break from German abstract painting. An important position is occupied by the different groups of Italian Pop Art.00Exhibition: Spazio -1. Collezione Giancarlo e Danna Olgiati, Lugano, Switzerland (23.09.2018-06.06.2019).
The Original Copy
"Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)"--T.p. verso.
Harald Szeemann
Widely regarded as the most influential curator of the second half of the twentieth century, Harald Szeemann (1933–2005) is associated with some of the most important artistic developments of the postwar era. A passionate advocate for avant-garde movements like Conceptualism and Postminimalism, he collaborated with artists such as Joseph Beuys, Bruce Nauman, Richard Serra, and Cy Twombly, developing new ways of presenting art that reflected his sweeping vision of contemporary culture. Szeemann once stated that his goal as an exhibition maker was to create a “Museum of Obsessions.” This richly illustrated volume is a virtual collection catalogue for that imaginary institution, tracing t...
Rita Ackermann: Hidden
New and early paintings exploring erasure and destruction New York-based painter Rita Ackermann's (born 1968) Hidden focuses on a selection of recent paintings, which are placed in relation to the artist's early works from the 1990s, encompassing nearly 50 paintings and drawings developed over the past 30 years in New York. In 2022 Ackermann began a new series of paintings titled War Drawings, in which oil, grease pencil and acrylic were heavily worked on rough linen canvas. In these works, figures become lost and lines are scraped away to reveal fragmented compositions. The War Drawings are presented alongside early drawings and paintings that depict adolescent female figures in clonelike multiples who engage in various self-destructive and hazardous activities.
Museum Folkwang
This guide takes visitors on a chronological tour of the Museum Folkwang's painting collections from the nineteenth to the twenty-first century. The first few pages provide an introduction to the museum's fascinating architectural design and history. Sculptures and installations round out this impressive and sensitively designed volume.
Henri Cartier-Bresson, Alberto Giacometti
This exhibition was devoted to a comparison of work by Henri Cartier-Bresson with that of Alberto Giacometti and consists of drawings, sculptures, and photographs around four themes: surrealism, 'the decisive moment', drawings of Paris, and Giacometti photographed by Cartier-Bresson.
Picasso by Picasso
The works featured in this book include paintings, sculpture and prints from the artist's Blue and Rose periods, his foray into Cubism, his neo-classical paintings of the 1920s and his images inspired by his young lover Marie-Thérèse Walter in the early 1930s.
Academics, Pompiers, Official Artists and the Arrière-garde
Academics, Pompiers, Official Artists and the Arrière-garde: Defining Modern and Traditional in France, 1900-1960 is a collection of eight essays and a scholarly introduction by established and emerging scholars that challenges the continuing modernist slant of twentieth-century art history. The intention is not to perpetuate the vulgar opposition between avant-garde and reactionary art that characterized early-twentieth-century discourse and has marked much subsequent historical writing, but rather to investigate the complex relationship that both innovative and conservative artists had to the concept of tradition. How did artists and art critics conceive of tradition in relation to modern...
Harald Szeemann
Born in Bern, Switzerland, in 1933, Harald Szeemann was a crucial force in identifying, exhibiting, and writing about the important new movements in postwar contemporary art. This collection of seventy-four texts from the curator’s vast body of written work—which includes essays, lectures, studio notes, reviews, interviews, correspondence, and transcripts—introduces the depth of his method, insight, and inclusive artistic interests. The pieces have been translated from German and French and collected in an informed, authoritative edition, making this the first time Szeemann’s work is accessible in English. The first two sections of this volume republish Szeemann’s anthologies Museu...
Pioneering Participatory Art Practices
Participatory art practices allow members of an audience to actively contribute to the creation of art. Annemarie Kok provides a detailed analysis and explanation of the use of participatory strategies in art in the so-called ›long sixties‹ (starting around 1958 and ending around 1974) in Western Europe. Drawing on extensive archival materials and with the help of the toolbox of the actor-network theory, she maps out the various actors of three case studies of participatory projects by John Dugger and David Medalla, Piotr Kowalski, and telewissen, all of which were part of documenta 5 (Kassel, 1972).
