The beginnings of Chanel's fashion brand lie in the French seaside resorts. In 1912, Coco?then still Gabrielle?Chanel opened her first boutique in Deauville; shops in Biarritz, Monte Carlo and Cannes soon followed. There, her simple, sporty designs met with a cosmopolitan clientele who carried her fashion back to the capital, Paris. In the 1920s, the Chanel brand thus experienced its first heyday, driven by the artistic and social upheaval of those years, the Roaring Twenties. This lavishly illustrated catalogue documents in drawings and photographs the extraordinary productivity of the designer who maintained friendships with artists such as Jean Cocteau, Pablo Picasso and others. In the 1920s, Serge Diaghilev's Ballets Russes were performing on the Riviera. The book reveals the Slavic influence in Chanel's creations, highlighting a network of correspondences with female artists close to Diaghilev's circle, such as Natalia Goncharova and Sonia Delaunay. The book also features La Pausa, Gabrielle Chanel's dream villa built in 1929 near Monaco.
Lexposition itinérante en Europe (Riehen/Bâle, Cologne, Amsterdam) retrace plus de 70 ans de création artistique à travers une grande variété de médiums. Le catalogue associé met en lumière des uvres emblématiques, des pièces inédites en Europe et des productions récentes, le tout en collaboration avec lartiste elle-même.
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.
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.
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.
A spectacular appraisal of one of the most innovative avant-garde artists of the Dada scene
Austrian artist Raoul Hausmann (1886-1971) defied conventions throughout his life. As a Dadaist he was among those who invented collage and was a pioneer of photomontage. His credo--being "recklessly sincere" in both art and life--made him a pioneering multimedia artist and a sharp-tongued critic of society. Now, his visionary work can be experienced in its full breadth. With around 270 illustrations, this catalog accompanying the retrospective at the Berlinische Galerie traces Hausmann's artistic journey, from his early Expressionist works and the highlights of his Berlin Dada years to his photography exploring fashion, dance and literature, as well as his lesser-known exile period. In 14 essays, international experts from the fields of art and literary history, media studies and psychoanalysis delve into Hausmann's multifaceted oeuvre, offering a rich and timely perspective on his astonishingly relevant body of work.
Revitalizing the life and artistic legacy of Suzanne Duchamp, sister of Marcel Duchamp and Dada pioneer in her own right
Suzanne Duchamp (1889-1963) was part of a famous artistic family that included her brothers Marcel Duchamp, Raymond Duchamp-Villon and Jacques Villon, and she has been continually overshadowed by her more famous (male) counterparts. In 1920, Francis Picabia wrote, "Suzanne Duchamp does more intelligent things than paint." As an artist and Dadaist, she developed a delicate, cryptic and humorous visual language. In fact, Duchamp was a leading exponent of Dada in both Europe and the Americas, building upon her brother's concept of readymades to produce "mechanomorphic" multimedia assemblages.
With over 60 works, many published for the first time, this catalog finally awards Suzanne Duchamp the recognition she deserves in the history of modern art. It showcases her influential work from her Dada period made on both sides of the Atlantic, as well as earlier and later pieces.
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.
Retrace plus de 70 ans de création de Paula Rego, peintre engagée dont l'uvre puissante traite de sujets politiques, intimes et féministes. De la dictature portugaise aux droits reproductifs, en passant par la santé mentale, ses uvres expriment avec force la lutte pour les droits des femmes. L'ouvrage souligne la pertinence continue de ses combats artistiques et humains.
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.
More than 90 of Celmins' astonishing hyperrealistic paintings are contextualized with writings by the artist herself and by luminaries including Teju Cole, Rachel Cusk and Marlene Dumas
Latvian American artist Vija Celmins (born 1938) is a master of subtle visual power. She is best known for her captivating paintings and drawings depicting galaxies, surfaces of the moon, desert floors, oceans and spider webs. Her works are not monumental; they are painted with a restrained palette and defy quick viewing. But once you are involved with them, your gaze gets caught up in them and they unfold their fascination and great beauty. This monograph presents all her approximately 90 exhibited artworks as well as a selection of documentary photographs. Several commentaries by the artist on her works are included, most of them published for the first time. Contributions by renowned authors and artists such as Julian Bell, Teju Cole, Rachel Cusk, Marlene Dumas and Robert Gober provide new perspectives on the artist's impressive oeuvre.
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
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.
A tender retrospective of a painter couple, from their first meeting in the 1920s to their deaths in the 1980s
Artist couple Anna-Eva Bergman (1909-87) and Hans Hartung (1904-89) were both pioneers in their respective genres: abstraction and Art Informel. For the first time, their twin careers and shared thematic interests are presented together, illustrated through their paintings, writings and personal photographs.
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.
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.
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.
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.
