Hirmer Verlag strana 2 z 3

xtensive journeys in Britain and continental Europe provided an inexhaustible source of inspiration for the visionary colour composi-tions of J. M. William Turner. In Switzerland he experienced the beauty and menace of the Alps, and by the sea the colourful harmonies of the diffuse light. The publication presents an incomparably original artist on his route to autonomy in art. The temporary peace on the continent from 1802 enabled the London artist to extend his search for motifs to Central Europe. In particular he travelled through the mountain world of Switzerland, constantly sketching his impressions. Back in his studio, he developed the unique imagery of his sublime landscape paintings. Through pictures which tell of the forces of nature of the sea and of the Swiss mountain landscapes, the authors examine the change in the portrayal of the "sublime", the subject of weather phenomena and Turner's role as the forerunner of Modernism, while Cees Nooteboom reflects on Turner and travel.

Five hundred years ago, the landing of Hernan Cortes in Mexico marked the end of the Aztec Empire. This volume presents the wealth of this culture with spectacular, sometimes unpublished finds: rare feathered shields, impressive stone sculptures, precious mosaic masks and goldwork as well as brilliantly coloured illustrated manuscripts bring the world of the Aztecs to life. The publication provides comprehensive insight into the fascinating history of the Aztec Empire and takes into account the latest results of research and archaeology. Renowned experts tell of the political, societal and economic structures, of cultural achievements such as the complex calendar system and the Aztec language, and of religious rites. Precious objects from the magnificent furnishings of the palace of Emperor Moctezuma and the main temple Templo Mayor, including recently discovered sacrificial offerings that have never previously been exhibited, bear witness to the high standards of Aztec art and craftsmanship.

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.

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.

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.

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.

This publication examines in depth the in-fluence of folkloric traditions on the pioneers of Modernismin the development of their new artistic language. Craft objects and folk art are contrasted with masterpieces by artists of the avant-garde like Josef Albers, Sonia Delaunay, Johannes Itten, Wassily Kandinsky, Ernst Ludwig Kirchner, Pablo Picasso, Charles Sheeler and Sophie TaeuberArp. A century after the emergence of Modernism in Europe and America, this standard work aims at a new assessment of the period. Towards the end of the nineteenth century many artists and architects found inspiration in local folk art. Private collectors, museums and artists began to collect and exhibit it. The enthusiasm for traditional craft techniques increased as a result of the threat posed by the rise of industrialisation. The focus in this volume lies on the reception of African, folk and peasant art and textile handicrafts. The phenomenon is discussed by international authors and is demonstrated by means of 350 illustrations.

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.

This lavishly illustrated volume, which comes in four different colours and with an open Japanese binding, looks from both sides of the Atlantic at 80 years of photography from Chicago. At the New Bauhaus and what later became the Institute of Design, teachers like Laszlo Moholy - Nagy, Gyoergy Kepes and spater Arthur Siegel, Harry Callahan and Aaron Siskind taught an uninhibited approach to the medium which influenced generations of photographers. To mark the start of the great Bauhaus anniversary in 2019, the Bauhaus Archiv / Museum fur Gestaltung Berlin is presenting its collecti on of "New Bauhaus Photography" which is unique in Europe. It introduces the protagonists and institutions who since the foundation of the New Bauhaus in Chicago in 1937 have inspired, created and collected photography and then presented it to the public. The wide range of illustrations extends from abstract photograms and material experiments to conceptual and process - oriented works series. Contemporary works from Chicago complete the picture and reflect the importance of the Bauhaus thought process for th e present day.

Alberto Giacometti forged a singular path within European Modernism, restlessly seeking a new language for sculpture as a double of reality. Presenting some 100 sculptures and paintings, the publication tracks the evolution of Giacometti's work from Post-Cubism through Surrealism to post-war Realism. Throughout his life, Alberto Giacometti (1901-1966) was in conversation with some of the most influential intellectuals of the twentieth century. By highlighting three writers - Georges Bataille, Jean Genet, and Samuel Beckett, with whom the artist sustained lasting friendships - the publication examines how these dialogues may be traced in Giacometti's oeuvre. The lavishly illustrated book not only provides an overview extending from his early to his later works, and newly comissioned essays but also presents important historical texts by the three authors and the artist himself.

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.

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.

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.

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.