Hirmer Verlag

Around 1500, Lucas Cranach the Elder steps onto the world stage - in Vienna. The publication explores this, the artist's earliest period of work and presents all the paintings he produced during this time, their expressiveness radically different from the courtly-elegant compositions he subsequently produced as court painter in Wittenberg. Lucas Cranach the Elder (1472-1553) produced his earliest works around 1500 in Vienna, shortly before moving to Wittenberg to become court painter to the Elector of Saxony. These brilliant paintings, drawings, and woodcuts document both the thirty-year-old's close contacts with the humanist circles of Konrad Celtis and Johannes Cuspinian, and identify him as a precursor of the so-called Danube School.

"The Infinite" documents the making of the ground-breaking immersive VR experience shot entirely aboard the International Space Station. Artists and astronauts joined forces to capture life in the cosmos as never before. In this oversize publication, brand-new views of space and stunning production shots reveal the human imagination's limitless potential. In Summer 2021, PHI and EMMY (R) Award-winning digital entertainment pioneers Felix & Paul Studios will launch the public into an infinite universe. A ground-breaking immersive VR exhibition will enable the audience to visit the ISS, where they encounter experiments, zero-gravity living, and breathtaking spacewalks. Beautifully designed, "The Infinite" features interviews with leaders in VR and contemporary art. It perfectly complements the exhibition's role in rendering the innovation, collaboration and humanity's quest for the skies.

The English illustrator Anna Atkins (1799-1871) was in every respect a modern woman. For the publication of her plant collections she used the latest technology, the recently invented cyanotype. In 1843 she used the process to create the first photo book in history, with images of breathtaking beauty and originality which often look like modern art. At first Anna Atkins worked for and with her father, the zoologist John George Children; later she chose the objects for her scientific compositions herself: algae and ferns. Atkins placed them on light-sensitive paper that turned dark blue in water after being developed, with the exception of the places that had been covered by the plants. Initially alone, and then with her friend Anne Dixon, she produced well over 10,000 copies of her photograms and assembled them in several books like albums. Today these rare copies are regarded as treasures and are preserved in museums and libraries.

This first full biography confirms Florine Stettheimer as one of the 20th century's most significant, progressive artists whose work remains highly relevant today. Stettheimer was a feminist, multi-media artist who painted several sexually explicit, political, identity-issue-based works and documented New York City's growth as the centre of cultural life, finance, and entertainment between the World Wars. During her first 40 years in Europe, Florine Stettheimer studied academic painting and was aware of all the earliest modernist styles prior to most American artists. Returning to New York, she and her sisters led an acclaimed Salon for major avant-garde cultural figures including Duchamp, the Stieglitz circle, poets, dancers, writers, etc. During her life she showed her innovative paintings in over 46 of the most important museum exhibits and Salons, wrote poetry, designed unique furniture and gained international fame for her sets and costumes for the avant-garde opera, 4 Saints in 3 Acts.

Lying between deserts, mountain chains and seas, Iran developed a fascinating cultural landscape. 360 objects from the time of the first advanced civilisations during the 3rd millennium BC until the end of the Safavid Empire in the early 18th century illustrate the outstanding significance of Iran as the initiator and centre of intercultural exchange. Exquisite artworks from the Sarikhani Collection in London and the Staatliche Museen zu Berlin invite visitors to embark on a journey in time through the cultural heritage of Iran. The highlights include the great pre-Islamic empires of the Achaemenids and the Sassanids, the establishment of a Persian-Islamic culture, the masterly artistic achievements of the 9th to the 13th centuries and the Golden Age of the Safavids. They are brought together as in a multifaceted kaleidoscope in the copious illustrations and provide insight into the art of the courts and the urban elites.

Dance is communication. From contemporary collaborations or the first happenings of the Japanese Butoh dancers and the pioneers of Modern dance, Global Groove explores the cultural history of contact between the West and the Far East. Global Groove is going back even to the early performances by Asian dancers in Europe around 1900. Photographs, paintings, sculptures, films and live actions reveal the role played by the language of dance in the political and cultural transformation of societies.

The monograph on Egon Schiele edited by Rudolf Leopold in 1972 forms the basis for Egon Schiele's world fame. This important document of art-historical literature has long been out of print, but it is now available once more in a revised edition with an updated catalogue raisonne. At the same time this magnificent volume provides an insight into the artist's life through letters, sketches and documents. Rudolf Leopold recognised back in the 1950s Schiele's outstanding significance for art. He was largely responsible for ensuring that the artist received the place he deserved in art history and public awareness. The monograph presented Schiele's paintings, watercolours and drawings chronologically in large-format colour plates. It is complemented by a profound examination of his motifs, studies, sketches and documents and provides a comprehensive overview. The current edition pays tribute to Leopold's achievement and the revised catalogue raisonne reflects the current state of research.

Elina Brotherus (* 1972 in Helsink) works in photography and moving image. Her work has been alternating between autobiographical and art-historical approaches. Photographs dealing with the human figure and the landscape, the relation of the artist and the model, gave way to images on subjective experiences. Why not? is the artist's first solo exhibition in a German museum and consists of around forty photographic works and two videos. A catalogue is appearing with illustrations of all the works and essays which both continue and deepen the discourse.

With Thomas Demand, Philip-Lorca diCorcia, Andreas Gursky, and Jeff Wall, the exhibition spotlights four master photographers whose visual constructions call into question the possibilities and limits of human perception and the photographic medium. Both in analogue and digital form, these artists create unconventional perspectives on reality. Their spectrum of subjects ranges from fleeting scenes of daily life to enigmatic incidents and historic events. The point of connection between the works lies in the artists' shared intention to combine the traditional documentary aspect of photography with fictional elements. In so doing, they generate visual disruptions, encouraging viewers to question their own impressions of reality.

Charles Bukowski, the dirty old man of American literature whose poems and prose are closely interwoven with his life - how does one go about portraying a person like that? In 1985, the young photographer Abe Frajndlich took on this challenge. We can say this much: it was not a job that could be accomplished in one shot. The Shooting presents a photographer's attempt to zero in on a legend. "That face!" Glenn Esterly exclaims in his essay "The Pock-marked Poetry of Charles Bukowski" included in this volume. Everything fascinating about this monumental author is concentrated in his "look", as impressively demonstrated by the photographs of Abe Frajndlich, many of them previously unpublished. Portraying Bukowski in color and black and white, he gained the writer's confidence to the point that he was eventually invited to the wedding of Bukowski and Linda Lee Beighle. Telling the story of this meeting, the publication reproduces the various portrait series, culminating in the photographs of the wedding.

Ludwig Mies van der Rohe(1886-1969) is one of the outstanding representatives of the New Building. He achieved legendary fame as the director of the Bauhaus in Berlin and as a teacher at the IIT in Chicago. The pavilion built at the World Exhibition in Barcelona in 1929 and the Haus Tugendhat in Brno, completed one year later, became incunabula of Modernism.Ludwig Mies van der Rohe's Pavilion of the German Empire in Barcelona was dismantled at the end of the exhibition and largely underwent accurate reconstruction in 1986 to mark the architect's 100th birthday. The Haus Tugendhat, on the other hand, had largely survived despite seventy years of neglect but it was only in 2010-2012 that it could be meticulously restored to its original state. To mark the reconstruction the architecture photograph Klaus Kinold portrayed both buildings in accurate photographs. The historians of architecture Wolf Tegethoff and Christoph Hoelz outline the constructionhistories and pursue the question of justification for the reconstruction of modern architecture.

Sensuousness, magic, a profound momentousness and irrationality are the hallmarks of the new art movement of Belgian Symbolism, which emerged during the 1880s. From Georg Minne and Fe licien Rops to Fernand Khnopff and James Ensor, the portraits, figure paintings and landscapes revealed a fascination with the eerie and the nefarious, with Thanatos und Eros. The remarkable feature of Belgian Symbolism is its predilection for the morbid and the bizarre. Death and decay became leitmotifs in art. In around 1900, artists tried to link a new mysticism with an extravagant and precious style. The central figure in this context was the femme fatale as an expression of excess and lust, often paired with echoes of the esoteric and the demonic. Many stimuli for European Symbolism had their origins in Belgium. This wide-ranging and lavishly illustrated volume examines this phenomenon.

Inspired bya private archive and including contemporary work by artists who acknowledge the continued relevance of Angela Davis's experience and politics, the essays, interviews, and images in this book provide a compelling and layered narrative of her journey through the junctures of race, gender, economic and political policy. Beginning with the arrest, trial, and acquittal of Davis, 1970-72, and continuing through her world tour to thank those who joined in demanding her release and her influential career as a public intellectual, the book examines fifty years of history in light of the current political moment. Profusely illustrated with materials found in the archive (press coverage, photographs, court sketches, videos, music, writings, correspondence, and Davis's political writings), the book includes an interview with Angela Davis and Lisbet Tellefsen, the archivist who collected these materials, as well as essays that ouch on visibililty and invisibility, history, memory, and the iconography of black radical feminism.

Given Kahlo's special bond with San Francisco and the city's impact on her art and her fashion, presenting the exhibition in this venue carries special significance. Many iconic photographs that show Kahlo as a Tehuana (by Cunningham, Adams, Alvarez Bravo, and Weston) are from San Francisco, and her first self-portrait in full Tehuana attire was painted in San Francisco (now in the collection of SFMOMA). Frida Kahlo's encounters with "Gringolandia" (as she called the United States) were formative and complex. She appreciated the beauty of San Francisco in particular, relished the ethnic diversity of the city, and was mesmerized by Chinatown. She also met fascinating people, many of whom became her lifelong friends. It was in San Francisco, the first city she visited in the U.S., that Kahlo began to fashion her indigenous Mexican identity, deliberately distinguishing herself from the local women, whom she called "scarecrows" and "dull." "The gringas really like me a lot and take notice of all the dresses and rebozos that I brought with me, their jaws drop at the sight of my jade necklaces and all the painters want me to pose for them," she wrote her parents shortly after her arrival.

This publication, accompanying the worldwide exhibition series, takes the quotation of the former Bauhaus student and subsequent university teacher Fritz Kuhr as a starting point for reflections on the Bauhaus; not only as a school in Weimar, Dessau and Berlin, but also in order to focus on the parallel Modernist movements in non-European regions. This volume explains in hitherto unknown depth the Bauhaus and its multi-faceted forms of expression, which extended far beyond the Constructivist language of the 1920s. Case studies from Buenos Aires, Mexico City, Santiago de Chile, Moscow, the USA and elsewhere show that the Bauhaus was not an exclusive undertaking of the modern age. Avant-gardes in many regions of the world examined the Bauhaus from their own point of view and integrated it into their discourses. In this way the Bauhaus became a global motor for new developments in society, culture and politics.

Jean-Michel Basquiat's self-portraits are regarded as being among the most important of his radical creative works. In addition to some 50 specific portraits of himself, we can also see his series of likenesses of African-American men as concealed reproductions of the artist. Not least because Basquiat, who was affected himself by everyday racism, identified with his heroes, saints and martyrs as he portrayed them. Thus his major topics from identity, discrimination and prejudice to capitalism, the market and oppression are all to be found in these key works.