One of the last great 20th-century masters, Balthus pursued a path that ran exactly contrary to that of the modernist avant-gardes with which he was contemporary. At once quiet and intriguing, his paintings unite colliding contrasts, combining reality and dream, eroticism and innocence, practicality and mystery, the familiar and the uncanny in unique ways.
This volume, published for a retrospective at the Fondation Beyeler, gathers around 50 key paintings from all phases of this legendary artist's career. It commences with the monumental masterpiece Passage du Commerce-Saint-André (1952-54), in which Balthus intensive study of the dimensions of space and time and their relationship to figure and object is especially apparent.
Balthasar Klossowski de Rola, known as Balthus (1908-2001), was born in Paris to Polish expatriate parents. He was raised in an exceptionally artistic milieu, with visitors to his household including Rilke (who became his mother's lover), André Gide, Jean Cocteau, Maurice Denis and Pierre Bonnard. Balthus was one of the few living artists to be represented in the Louvre, when his painting The Children (1937) was acquired from the private collection of Pablo Picasso.
This publication reissues a much sought-after photobook. Taryn Simon is an American artist whose works combine photography, text and graphic design. Her practice involves extensive research, in projects guided by an interest in systems of categorization and classification. For Contraband, 1,075 photographs were taken at both the US Customs and Border Protection Federal Inspection Site and the US Postal Service International Mail Facility at John F. Kennedy International Airport, New York. From November 16 to November 20, 2009, Simon remained on site and continuously photographed items detained or seized from passengers and express mail entering the United States from abroad. The list of items includes pork, syringes, Botox, GBL date rape drug, heroin, imitation Lipitor, Ketamine tranquillizers, Lidocaine, Lorazepam, locust tree seed, ginger root, deer tongues, cow urine, Cohiba cigars and Egyptian cigarettes. The volume is published in three differently colored covers.Taryn Simon (born 1975) has been the subject of monographic exhibitions at Ullens Center for Contemporary Art, Beijing (2013); The Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); and Whitney Museum of American Art, New York (2007). Her work is in the permanent collections of The Metropolitan Museum of Art, Tate Modern, Whitney Museum of American Art, Centre Georges Pompidou and Museum of Contemporary Art, Los Angeles, and was included in the 54th Venice Biennale in 2011 and the Carnegie International in 2013. She is a graduate of Brown University and a Guggenheim Fellow. Simon lives and works in New York.
Gang of Cosmos. Robert Longo
Im Mittelpunkt dieses Katalogs stehen Robert Longos jüngste Serien von Kohlezeichnungen nach bekannten Gemälden des Abstrakten Expressionismus. Die in Kohle wiedergegebenen Originalgemälde lassen sich auf den ersten Blick erkennen, doch es sind die übersehenen oder kaum wahrnehmbaren Details der komplexen Oberfläche, der Taktilität der Farbe, der Pinselstriche und des Musters der Leinwand, die Longo bei seiner Übertragung von farbig in schwarz-weiß, von Farbe in Kohle sichtbar gemacht hat. Longos Zeichnungen befassen sich mit seiner ambivalenten Haltung zur Malerei und mit der historischen Bedeutung des Abstrakten Expressionismus in kunsthistorischen und kulturellen Kontexten. Neben den abstrakt-expressionistischen Zeichnungen präsentiert das Buch Longos gewaltige 7-teilige Zeichnung des Kapitols in Washington, D. C. und eine 5,18 Meter hohe, mit Wachs beschichtete schwarze Skulptur der amerikanischen Flagge, die zu Boden zu stürzen oder durch ihn hindurchzufallen scheint.
Gerhard Richter: Landscapes
No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. "I felt like painting something beautiful" was the artist's response, when asked about the preponderance of landscapes in his works around 1970. Fifteen years later, he further elaborated that "my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'... by untruthful I mean the glorifying way we look at Nature--Nature, which in all its forms is against us, because it knows no meaning, no pity, no sympathy..." Richter's approaches to landscape are various indeed, yet uniquely and recognizably his. The first edition of Gerhard Richter: Landscapes was published in 1998; it quickly sold out, was reprinted in 2002 and rapidly went out of print again. This new edition is the first to expand on the 1998, and brings us up to date with Richter's enduring fondness for this subject.
Gerhard Richter was born in Dresden in 1932, and rose to prominence in the early 1960s as a member of the Capitalist Realism movement alongside Sigmar Polke and others. His first solo show was in 1964 at Galerie Schmela in Düsseldorf. Today he is ranked among the world's greatest painters.
Published for an exhibition at the Fondation Beyeler, this volume concentrates on Gustav Courbet's position as the first avant-garde painter. With his provocative canvases and his emphasis on the artist as individual, Courbet was a crucial precursor of modernism who broke with the conventions of traditional academic training. Featuring self-portraits, representations of women and pictures of grottos and seascapes, this volume highlights Courbet's innovative implementation of color and his strategic use of ambiguity. Other themes include his break with French academic tradition, the development of Realism in art, his revolutionary impasto painting technique and his playful treatment of traditional motifs and symbols. Courbet's famous painting L'origine du monde is at the heart of the book and exhibition. Made in 1866, the painting was for decades the unknown masterpiece of the nineteenth century-a work that few saw at the time but which everyone discussed, and which retains its provocativeness even today. Courbet's landscapes-depicting the springs, caves, steep limestone cliffs and the forests of Jura around Ornans, where he was born-are often combined with representations of the female nude, uniting sexuality and nature in a fascinating equilibrium. Other canvases center on the impenetrable darkness of mountain caves (showing Courbet to have been a master of suggestion), and snowscapes.
In Search of 0,10. The Last Futurist Exhibition of Painting Keller Sam This exhibition celebrates that groundbreaking moment in the history of modern art when Kazimir Malevich debuted his new nonobjective paintings - including the "Black Square" - under the banner of Suprematism and Vladimir Tatlin introduced his revolutionary counter-relief sculptures. Malevich and Tatlin were bitter rivals and diametrically opposed in their creative thinking, so when the exhibition 0,10: The Last Futurist Exhibition of Painting, organized by fellow artist Ivan Puni, was launched in Petrograd in 1915, the other 12 artists in the show (Ivan Puni, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nathan Altman, Vasily Kamensky, Vera Pestel, Maria Ivanovna Vasilieva, Anna Michailovna Kirillova and Mikhail Menkov) chose sides. It was a stylistically diverse exhibition, with Cubist-inspired works and the first nonobjective paintings and reliefs. "In Search of 0,10" accompanies a show at the Fondation Beyeler, which includes a large number of the works from the original exhibition. The catalogue features essays by exhibition curator Matthew Drutt and other leading scholars, as well as documents gathered together and translated for the first time.
Lee Miller (1907–1977) begann ihre künstlerische Karriere 1929 als surrealistische Fotografin in Paris. Oftmals in Zusammenarbeit mit Man Ray fertigte sie Bilder an, in denen sie Motive durch enge Bildausschnitte und experimentelle Techniken verfremdete und so eine paradoxe Wirklichkeit in Szene setzte. Die Publikation macht ihre besten Arbeiten wieder zugänglich, darunter neben frühen surrealistischen Kompositionen auch Reisefotos. Am Ende des Zweiten Weltkriegs reiste Lee Miller als Kriegsberichterstatterin durch Europa, wobei ihr erschütternde Aufnahmen von historischer Bedeutung gelangen. Eines der spektakulärsten Bilder entstand Ende April 1945 in Adolf Hitlers Stadtwohnung am Münchner Prinzregentenplatz: Lee Miller ließ sich nackt in der Badewanne des Diktators ablichten – nachdem sie unmittelbar zuvor als eine der ersten Fotografen und Fotografinnen die Verbrechen in den eben befreiten Konzentrationslagern Dachau und Buchenwald festgehalten hatte.
MemyselfandI. Photographic Portraits of Picasso Stremmel Kerstin Pablo Picasso was one of the most frequently photographed celebrities of the last century. Virtually all of the great twentieth-century portraitists photographed him, including Cecil Beaton, Henri Cartier-Bresson, Robert Doisneau, Man Ray, Irving Penn and Lee Miller. Photo Portraits of Picasso gathers these portraits for the first time, examining the often tense relationship between Picasso's control of his public persona and the intentions of the photographers. Ranging from classic staged sittings - some commissioned by Picasso himself - to more spontaneous snapshots, the portraits in this volume are a record of the artist's sustained, lifelong construction of his public identity. Other photographers included are Rogi Andre, Richard Avedon, Bill Brandt, Brassai, Rene Burri, Robert Capa, Lucien Clergue, Jean Cocteau, Denise Colomb, David Douglas Duncan, Jaques-Henri Lartigue, Herbert List, Dora Maar, Madame d'Ora, Willy Maywald, Gjon Mili, Inge Morath, Arnold Newman, Roberto Otero, Edward Quinn, Gotthard Schuh, Michel Sima and Andre Villiers.
Paul McCarthy: The Box
The new artist’s book by Paul McCarthy (1945 in Salt Lake City) presents one of the artist's most significant works: The Box (1999). The work is a displaced sculpture of McCarthy’s entire studio. Inconspicuous from the outside, a fabricated wooden structure like a shipping crate with four holes indicating the windows and doors in McCarthy's actual studio, the inside reveals an overwhelming diversity of objects thereby creating an intimate portrait of the artist’s mindscape. The contents of The Box are the actual items from McCarthy's studio in Los Angeles, California, containing approximately three thousand objects, from a steel cabinet to a pencil, drawings and artworks. Only one thing is amiss, the box is tipped ninety degrees on its side, its contents, fixed to their surfaces, appear to defy gravity and taunt the viewer's perception of right-side-up. This radical displacement is repeated in the design of the catalog, thereby creating an object that functions as yet another haptic inversion.
In an exhibition conceived for the 16th Venice Architecture Biennale, the Russian Pavilion has been transformed into a train station with five halls, documented here: the Geography of Free Space, the Architectural Depot, the Waiting Hall of the Future, the Crypt of Memories and Aboard the Free Space.
Hiroshi Sugimoto is one of the best-known photographic artists of our time. His unique accomplishment in photography has been to contradict the medium’s conventional task--namely, to record reality as precisely as possible. In Sugimoto’s work, one is confronted with aformal reduction of images, by which he addresses fundamental questions of space and time, past and present, art and science, imagination and reality. “I was concerned with revealing an ancient stage of human memory through the medium of photography,” he said in 2002. “Whether it is individual memory or the cultural memory of mankind itself, my work is about returning to the past and remembering where we came from and how we came about.” This volume presents a group of images that Sugimoto has been working on for a long time. From a technical perspective, the nature of the pictures is undeniably photographic, but in terms of how they are perceived and understood, they might be more readily ascribed to a painterly or conceptual sphere. The point of departure for the 15 works, titled Revolution, is a nocturnal seascape, rotated 90 degrees to turn the horizons into vertical lines, dissipating the Romantic image of the night. The suite’s title alludes not to social unrest, but rather to an overturning of previously accepted laws or practices through new insights or methods. Without changing the pictures’ material substance or subject, the usual connotations of nocturnes are obviated; instead, highly original abstract configurations emerge.