Kubin's eerie, unsettling illustrations reveal his preoccupation with the world's evils
For Austrian artist Alfred Kubin (1877-1959), evil was intrinsic to his life and work. After a traumatic childhood growing up in Zell am See and subsequent mental crises, he began his artistic training in Munich in 1898. He processed his nightmares and obsessions in a large number of fantastical drawings. His subjects, perpetually pessimistic, remain relevant a century later: war, famine, pestilence, death and every horror in between. Kubin had a pronounced fear of the feminine, sexuality, night time and of being at the mercy of fate, all of which visited him in uncanny dreams. For Kubin, the aesthetic of evil proved to be the antithesis of the idyll: the deliberate suppression of a hideous reality.
Drawn from the Albertina Museum's collection of over 1,800 drawings by the artist, The Aesthetic of Evil displays Kubin's grotesque vision as well as his superb draftsmanship. Amid the violent, haunting atmosphere of his graphic works it is easy to see how Kubin became trapped in his dark visions, to the point where the inexhaustible, intangible specter of evil consumed his life. Essays by Elisabeth Dutz, Natalie Lettner and Brigitte Holzinger explore Kubin's cosmos of the sinister: his personal iconography of evil fueled by his nightmares and obsessions.
Fondation Beyeler's invitation to the voyage through the oeuvre of one of the moste famous modernist artists - from his early paintings to his legendary late silhouettes.
Henri Matisse is one of the most celebrated artists of Modernism. His groundbreaking work had a significant influence on his contemporaries and many subsequent artists to this day. The retrospective at the Fondation Beyeler spans all of the artist's creative periods. Beginning with the paintings from around 1900, the show advances through the revolutionary Fauvist paintings, the experimental works of the 1910s, the sensual paintings from the Nice period and the 1930s, and culminates in the legendary cut-outs of his late period. Drawing on Charles Baudelaire's poem Invitation to the Voyage from 1857, the exhibition and catalogue are conceived as a journey through Matisse's work and life.
Inspiré par Rembrandt, Chardin et Courbet, Chaïm Soutine a forgé un nouveau langage expressionniste qui fait le pont entre l'histoire de l'art et la modernité en liant la vulnérabilité humaine et les vies en marge de la société. Ses portraits exécutés à larges touches, ses paysages agités et ses célèbres carcasses d'animaux expriment, dans des couleurs vives, un intense appétit de vivre et une profonde aliénation dans un monde incertain. Ce catalogue d'une exposition au Louisiana Museum à Copenhague puis au Kunstmuseum de Berne se concentre sur ses premiers chefs-d'oeuvre et séries créés entre 1919 et 1925. Abordant le thème général de l'émigration et de la dislocation, des essais révèlent les traces des origines juives de Soutine dans son travail, éclairent la signification de ses motifs récurrents et montrent les influences de l'art de Soutine jusqu'à nos jours.
Depuis la fin des années 1970, l'artiste canadien Jeff Wall a grandement contribué à faire de la photographie un médium autonome et est considéré comme l'un des principaux précurseurs de la «photographie mise en scène ». Synthétisant la photographie avec des éléments d'autres formes d'art comme la peinture, le cinéma et la littérature, dans un mode complexe qu'il appelle «cinématographie », son travail met en scène des réalités fictionnelles, des souvenirs et des expériences passées dans un processus élaboré. Avec plus d'une cinquantaine d'oeuvres, ce catalogue accompagnant l'exposition à grande échelle de la Fondation Beyeler juxtapose les transparences couleur rétro-éclairées de Jeff Wall à ses photographies plus récentes en noir et blanc et en couleur C-imprime, révélant une grande diversité de contenu et de forme.
The exhibition Maison Sonia. Sonia Delaunay and the Atelier Simultane is dedicated to the applied work of Russian-French artist Sonia Delaunay (1885-1979), with a focus on her textile design work. The accompanying catalogue includes the first scholarly essays on Sonia Delaunay's collaborations with silk industrialist Robert Perrier and couturier Jacques Heim, who were among her most important collaborators and previously unexplored. In addition, the publication provides the first overview of the role of Sonia Delaunay's simultaneous fabrics in the design of modern living and media spaces.
Sheila Hicks has made wool, linen, and silk her central media, pushing the boundaries of traditional textile art. Her works combine color, form, and material in novel ways and explore architectural dimensions. As a pioneer of textile conceptual art, Hicks has developed a distinctive visual language over six decades, from finely woven miniatures to monumental installations that open up new perspectives on the possibilities of art. This book contains views of Sheila Hicks's exhibition a little bit of a lot of things at the Kunstmuseum St. Gallen as well as a conversation with the curator Rob Storr and an essay by Gianni Jetzer. It also documents a master class held by the artist in St. Gallen and contains previously unpublished images.
Pure Painting est le catalogue d'une exposition présentée au Texas puis au Kunstforum à Vienne. Il propose une exploration approfondie de la pratique artistique de Robert Motherwell. Plusieurs spécialistes y examinent le passage de l'artiste américain du surréalisme à l'abstraction et analysent les grandes séries qui se sont développées au cours de ses cinquante ans de carrière. Le catalogue étudie le dialogue entre l'art de Motherwell et la tradition de la peinture française du XIXe siècle, étudie sa relation avec les techniques et procédés espagnols, en mettant l'accent sur leur signification politique sous-jacente, et se penche sur l'utilisation par Motherwell du pigment ocre, avec son évocation profonde du temps géologique et des pratiques d'avant-garde.
As artists, they were self-taught and created a cosmos of images that still captivates us today with its sensual immediacy and has made a lasting mark in art history on the work of non-academically trained artists: Henri Rousseau (1844-1910), Camille Bombois (1883-1970), Andre Bauchant (1873-1958), Louis Vivin (1861-1939) and Seraphine Louis (1864-1942). They are counted among the so-called circle of the "painters of the sacred heart"; their scenarios, often borrowed from nature, especially flowers and fruits, but also people in parks and landscapes, indicate a closeness to nature, a sensitive approach to the things of the immediate environment, with which they apparently sought to escape the coldness of uprising modernism.
These French pioneers of authentic art were discovered by the German art historian Wilhelm Uhde (1874-1947), who organized their first joint exhibition in Paris in 1928
Le catalogue raisonné en six volumes des peintures et sculptures de Gerard Richter présente de nombreuses reproductions en couleur en pleine page des oeuvres ainsi que des informations techniques complètes sur les travaux et les notes manuscrites de l'artiste, sur les expositions et sur la littérature de référence. Des commentaires, des citations et des images comparatives complètent l'ouvrage. Ce cinquième volume présente la production de Gerard Richter du milieu des années 1990 jusqu'au début des années 2000.
Using her own body as raw material for her artistic practice, French artist ORLAN deconstructs the traditional iconography of the feminine. In the 1990s, ORLAN caused a sensation with surgical operations performed on her body, but it was as early as 1964, at the age of 17, that she gave birth to her artistic self. Since then, she has continuously recreated herself and keenly explored the concept of identity. In her "carnal art," the body becomes both subject and object. This publication traverses the six decades of ORLAN's oeuvre, revisiting her early performances in particular. One of her most recent creations is the ORLANOIDE robot, and thanks to an augmented reality app, ORLAN avatars come to life and emerge from this richly illustrated volume.
The political status of the body is made evident through all of her works: in 1989 she transformed Gustave Courbet's famous painting L'origine du monde into L'origine de la guerre by replacing the vulva with the phallus. The statement has not lost any of its topicality.
Catalogue raisonné des multiples de l'artiste allemand, édités entre 1965 et 2013 : sérigraphies, héliogravures, peintures, cibachromes, photographies, collages, livres d'artistes, tapisseries et objets.
On the inception of Halley's formal vocabulary of "prisons, cells and conduits" in 1980s New York.
This survey revisits the first decade of Peter Halley's (born 1953) career. Assembling over 30 paintings from public and private collections, it presents iconic works alongside previously unseen drawings, sketches and notes. After studying at Yale and in New Orleans in the late 1970s Halley returned to New York in 1980, taking up residence in the East Village. That same year he painted his first images of confinement, redeploying the language of geometric abstraction in response to bureaucratic environments. Adopting nontraditional materials such as Roll-A-Tex?a paint additive that provides a readymade texture?and Day-Glo fluorescent colors, he evoked a pervasive mechanization of human touch with the former and referenced the presence of technology in the postmodern environment with the latter.
Réédition fac-similé, avec sa jaquette plastique d'origine, de ce livre d'artiste paru en 1987 dans lequel Julian Schnabel nous livre les moments qui ont marqué sa carrière artistique ainsi que ses réflexions sur l'art.
Mother Tongue est la première publication de l'artiste française basée à New York Camille Henrot (1978) axée uniquement sur la peinture et le dessin, rassemblant plus de 200 oeuvres des séries System of Attachment, Wet Job et Soon, couvrant les cinq dernières années, qui, autour de la maternité, traitent du soin et de la tension entre l'attachement et la séparation dès la petite enfance et tout au long de la vie. Le livre est accompagné de textes d'Emily Labarge, Legacy Russell, Marcus Steinweg, Hélène Cixous et Seamus Kealy, et d'une conversation entre Camille Henrot et la commissaire Julika Bosch.
À l'occasion du cinquantenaire de sa naissance, la Fondation Beyeler consacre une vaste rétrospective à Jean-Michel Basquiat (9/05 - 5/09/2010) à travers près d'une centaine de toiles, travaux sur papier et objets provenant de musées et de collections particulières du monde entier. Ses oeuvres peuplées de personnages semblant tout droit sortis de bandes dessinées, de silhouettes squelettiques, d'objets quotidiens bizarres et de slogans poétiques, frappent par leur force et par la somptuosité de leurs couleurs.
Pour célébrer les 150 ans de la naissance du célèbre artiste autrichien, le musée de Vienne expose l'ensemble des travaux de Klimt présents dans ses collections, jusqu'au 16 septembre 2012. Un ensemble unique au monde, soit plus de 400 dessins, quelques peintures, et les premiers portraits aux ornements foisonnants, si représentatifs de son style.
While German painting of the postwar period essentially concerned itself with coming to terms with the past and presenting it in gestures ranging from the heroic to the ironic, Daniel Richter focuses on positioning himself in the present. Time and again he devises new ways of being "modern" in a medium that has long been labeled old-fashioned and anachronistic. His pictures constantly challenge the spectator by their painterly and contextually excessive demands, but they do not lecture on moral issues. In five chapters featuring more than 200 examples of his works, the author Eva Meyer-Hermann traces the chronological development of Richter's artistic output for the first time. The turns from abstraction to figuration and back again that until now have been described as abrupt, prove on closer examination to be a logical consequence and a sign of conscious artistic action.
