Benjamin's early attempt to understand a nascent technology, remarkably prescient and topical even today
"The illiterate of the future ... will not be the man who cannot read the alphabet, but the one who cannot take a photograph." So declared Walter Benjamin (1892-1940) in his essay A Little History of Photography, originally published in the periodical Literarische Welt in 1931. Beginning with the early experiments of Louis Daguerre and Nicéphore Niépce and concluding with the work of August Sander and Germaine Krull, Benjamin moved beyond the medium itself to address the artistic, societal and political capabilities that photography foretold. A Little History of Photography contains the inklings of his thoughts on "reproducibility" that he would later flesh out in his best-known text, "The Work of Art in the Age of Mechanical Reproduction." Benjamin's view of photography gave early credence to the medium and its practitioners and shaped the methodology by which it can be analyzed.
A visual travelogue-cum-dialogue between two giants of modernist photography.
This publication presents a dialogue between the Mexican photographs of Helen Levitt (1913-2009) and those of Henri Cartier-Bresson (1908-2004). The two photographers first met in New York in the spring of 1935; Cartier-Bresson had just spent a year in Mexico, while Levitt had only just embarked on the portraits of New York street life for which she would become celebrated. Levitt was enthralled by the Frenchman's Mexican photographs, which she saw at the exhibition Documentary & Anti-Graphic Photographs at the Julien Levy Gallery that same year. In 1941, fascinated by Cartier-Bresson's work, Levitt decided to visit Mexico with Alma Agee, wife of novelist James Agee, and their son Joel. Throughout her long photographic career, this was Levitt's sole trip abroad. This volume gathers around 60 prints by Cartier-Bresson and Levitt, as well as documents retracing their respective steps in Mexico.
Cette publication présente un nouveau corpus d'oeuvres de Cindy Sherman qui poursuit ses explorations du genre et du portrait en remontant à ses premiers travaux des années 1970. À travers 36 photographies, l'artiste colle des parties de son propre visage pour construire l'identité de divers modèles, en utilisant la manipulation numérique pour accentuer les aspects superposés et la plasticité. Le livre comprend également un texte de Cindy Sherman relatant son processus en studio, offrant un aperçu intime de sa réflexion sur le travail.
The almost unknown collection of children's books, compiled by design specialists contains not only the classics but also surprising, sometimes radical designs and titles that will broaden our view of the history of children's books / Children's books tell more than just stories. They stimulate the imagination, convey feelings and world views and help children to explore the world. They appeal to children and adults alike through their idiosyncratic narratives, but above all through their diverse and unusual illustrations and individual styles. Their creative appeal lies in the variety of illustrative possibilities, which range from detailed watercolors to linocuts and woodcuts to minimalist drawings, and can also evolve into animations or digital applications. The publication presents works from the end of the 19th century to the present day. On display are international books and illustrations for children that surprise and fascinate with their creative and sophisticated design.
Rediscovering the transgressive, grotesque drawings of a self-proclaimed "good-for-nothing" artist whose criminal ties cost him his life
Driven by fascination as well as contempt, Belgian artist Stéphane Mandelbaum (1961-86) produced hundreds of drawings within a short creative period of just 10 years. As a descendant of Holocaust survivors, Jewish history and persecution was often at the center of his work. His portraits, reminiscent of the strained, tortured figures of George Grosz, include renderings of Arthur Rimbaud, Francis Bacon, Pierre Goldman, his grandfather Szulim and his father Arié, but also of National Socialist criminals such as Joseph Goebbels and Ernst Röhm. He interspersed these sketches with newspaper clippings or coarse, short, disparaging phrases in Yiddish, Italian, French or German. This monograph captures Mandelbaum's haunting, deliberately provocative oeuvre, permeated by his Jewish descent, Belgium's colonial history and the seedy criminal underworld of Brussels--which ultimately claimed his life.
Egon Schiele's Last Years 1914-1918.
Egon Schiele (1890-1918) is known above all through his expressionist paintings and drawings from between 1910 and 1913/14, in which he expressed the inner turmoil of an entire generation in his depictions of the human figure. His later works after 1914, which differ markedly from his earlier ones, are less well known. His lines became more measured, flowing, and organic, and his figures filled out and were more realistic. Personal and historical events from 1914 - the outbreak of war, his marriage to Edith Harms, and the tedium of army life - clearly had a profound effect on his artistic output. Among other things, Edith Schiele's almost unknown diary (1915-1918), in which she recorded her thoughts and feelings during the difficult times is published in full.
Très peu d'artistes reflètent notre passé récent aussi profondément que Wolfgang Tillmans dans leur travail. À l'occasion de son exposition "Weltraum" à l'Albertinum de Dresde, Tillmans a créé un livre d'artiste unique qui place ses quatre décennies de pratique artistique dans un dialogue stimulant avec le passé et le présent de l'Allemagne de l'Est et de l'Ouest. "Things matter, Dinge zählen" entrelace des extraits d'un catalogue d'inventaire de Dresde de 1987 avec le catalogue de Tillmans de 2003, "If one thing matters, everything matters", créé pour le Tate Britain, dans lequel il a imaginé un catalogue raisonné spéculatif de ses premières oeuvres. Le retour en circulation de ces deux titres épuisés est accompagné d'une conversation dans laquelle Tillmans réfléchit à ses débuts artistiques et analyse leurs implications esthétiques et sociales aujourd'hui.
The first monograph on the SOS studio founded by Olafur Eliasson and Sebastian Behmann presents some of their joint works as well as architectural works by Studio Olafur Eliasson.
Studio Other Spaces (SOS) connects architecture and art through interdisciplinary and experimental building projects and artworks for public space. They use each project as a vehicle and tool to dive into topics, into locations, and into the intricate relationships between people and spaces. Featured works include the façades
Carpets, reliefs, sculptures, installations - the catalogue provides an overview of the works of Sheila Hicks, one of the most influential contemporary textile artists, from 1955 to the present day.
Sheila Hicks' unique oeuvre unfolds in the interplay between material, colour and space: In her wall works, tapestries, reliefs, sculptures, and installations, the seemingly infinite possibilities of these three dimensions unfurl.
Carla Juaçaba développe sa pratique indépendante de l'architecture et de la recherche depuis 2000 à Rio de Janeiro, au Brésil. Son bureau participe actuellement à des projets publics et privés axés sur le logement et les programmes culturels. Elle a travaillé avec l'architecte Gisela Magalhães, principalement dans des expositions liées aux arts indigènes brésiliens et aux musées historiques. Parmi ses premières oeuvres, elle est connue pour une série de maisons - Rio Bonito (2005), Varanda (2007), Minimal (2008) et Santa Teresa (2014) - des scénographies d'exposition et surtout le pavillon éphémère appelé Humanidade, à Rio de Janeiro, conçu avec la scénographe et metteur en scène Bia Lessa conçu pour la conférence des Nations Unies à Rio de Janeiro en 2012. Elles ont créé un pavillon temporaire fait d'échafaudages récupérés dans les chantiers alentour, et surmonté de la phrase "The Future we Want". Elle a également été invitée à la Biennale d'architecture de Venise 2018 avec le projet Ballast et a construit l'une des chapelles du Vatican.
Les vies des documents - La photographie en tant que projet est le premier d'une trilogie de projets de recherche et d'exposition produits par le CCA sur le médium de la photographie, entre oeuvre d'art, outil de recherche et document, comme moyen d'investigation de l'environnement bâti. Organisé par Bas Princen et Stefano Graziani, ce projet vise à disséquer la pratique d'artistes et de photographes dont le travail a contribué à définir les étapes de transformation de la discipline au cours des cinquante dernières années sur des sujets spécifiques, de la notion de paysage à la complexité de l'archive en tant que format de projet, entre autres. Il adopte l'idée du documentaire comme une qualité intrinsèque du langage photographique et questionne la pertinence et l'actualité de la photographie comme moyen d'interroger notre environnement et d'interpréter les mécanismes qui façonnent notre monde visible. Photographes : Lara Almarcegui; Lewis Baltz; Gabriele Basilico, Stefano Boeri; Bernd and Hilla Becher; Lynne Cohen; Luigi Ghirri; Dan Graham; Jan Groover; Guido Guidi; Naoya Hatakeyama; Takashi Homma; Roni Horn; Douglas Huebler; Annette Kelm; Gert Jan Kocken; Aglaia Konrad; Susanne Kriemann; Sol LeWitt; Armin Linke; Ari Marcopoulos; Gordon Matta-Clark; Richard Misrach; Marianne Mueller; Bruce Nauman; Michael Schmidt; Thomas Struth; Tokuko Ushioda; Jeff Wall; Marianne Wex.
The catalogue examine the relationship between gender, art and Modernism. It will focus on the question of what kinds of stylistic and visual imagery were developed by women artists in response to the social change, political upheaval and technical innovations of the first half of the last century.
70 female artists from 22 countries - RADIKAL! challenges the concept of modern art as a straightforward, mainly male-driven development. Instead, the exhibition brings together female artists artists from d
Richly illustrated catalogue of the works of one of the most significant contemporary artists practicing today. In his both powerful and lyrical works, Jafa consistently reflects on the ontology of race and of blackness.
Over several decades, Arthur Jafa has constructed a compelling body of work that defies categorization. Both powerful and lyrical, his practice combines a profoundly unsettling blend of images and histories from diverse contexts and backgrounds.
B+ architects, Genk, Belgium.
Architectural firm focused onsustainable projects with transformative social impact.The first monograph on b+ reflects their wide-ranging practice, including building projects in Berlin, Minneapolis, fashion shows and furniture pieces.
b+ is a collaborative project led by Arno Brandlhuber, Olaf Grawert, Jonas Janke and Roberta Jurcic that understands architecture as an open process, and views buildings as part of larger systems that require a systemic app
Around 1900, nature-oriented way of life, spiritism and theosophy inspired artists from Arnold Schönberg to Egon Schiele. This comprehensive overview is the first to explore the occult aspects of the «Lebensreform» movement in Vienna.
In the late 19th century, criticism of the materialism of industrialized society reached Vienna. Spiritism and theosophy inspired many who were looking for a «better self.»
Conçu comme un abécédaire de plus de 300 artistes, le « Livre d'Images » est avant tout un recueil d'histoires et de mises en scène. Il raconte par ses notices et illustrations les savoureuses anecdotes qui se cachent derrière chacune des séries photographiques présentées par Images Vevey en extérieur comme en intérieur entre 2008 et 2018, en révélant les liens entre les intentions artistiques et le mode de présentation.
Ce catalogue accompagne l'exposition à la State Tetriakov Gallery dédiée à l'art de Mikhail Larionov, célèbre représentant de l'avant-garde russe du début du XXe siècle. Il comprend de nombreux articles sur différents aspects de son art comme la peinture et le dessin mais aussi le théâtre des périodes russe et française. Il aborde également le travail de Larionov en tant que commissaire d'expositions et fédérateur de groupes artistiques et consacre une sélection spéciale à sa collection personnelle.
