Zweisprachige Ausgabe (deutsch/englisch) / Bilingual edition (English/German) Vertauschte Koepfe erscheint begleitend zur ersten gemeinsamen Ausstellung der Bruder Andreas Muhe und Konrad Muhe im KUNSTWERK Sammlung Klein. Wie koennen sich zwei Bruder, die unterschiedlicher nicht sein koennten, auf Augenhoehe begegnen und ihre Arbeiten in Einklang bringen? Was sie eint, ist die intensive Auseinandersetzung mit der Familiengeschichte. Unterschiede erganzen sich: Wahrend sich der eine mit der Verwobenheit von Familiengeschichte und deutscher Geschichte beschaftigt, bearbeitet der andere das Verhaltnis von menschlichen und technologischen Koerpern sowie deren politische Subtexte in der Gegenwart. Gleich einer Familie, die sich unterschiedliche Geschichten ubereinander erzahlt, greift der Katalog die verschiedenen Zeitebenen und Erzahlstrange auf. So enthalt Vertauschte Koepfe gleich mehrere Bucher, die sich aufeinander beziehen und gegenseitig herausfordern: Die Arbeiten von Andreas und Konrad Muhe treten in Wechselbeziehung mit Texten von Valeria Waibel, Karsten Ehlers, Monika Maron, Kito Nedo und einem Comic von Gregor Hinz. Es schwebt die Frage im Raum: Wie fest ist der Untergrund des gemeinsamen Fundaments?

The ubiquity of digital images has profoundly changed the responsibilities and capabilities of anyone and everyone who uses them. Thanks to a range of innovations, from the convergence of moving and still image in the latest DSLR cameras to the growing potential of interactive and online photographic work, the lens and screen have emerged as central tools for many artists. Vision Anew brings together a diverse selection of texts by practitioners, critics, and scholars to explore the evolving nature of the lens-based arts. Presenting essays on photography and the moving image alongside engaging interviews with artists and filmmakers, Vision Anew offers an inspired assessment of the medium's ongoing importance in the digital era. Contributors include: Ai Weiwei, Gerry Badger, David Campany, Lev Manovich, Christian Marclay, Laszlo Moholy-Nagy, Walter Murch, Trevor Paglen, Pipilotti Rist, Shelly Silver, Rebecca Solnit, and Alec Soth, among others. This vital collection is essential reading for artists, educators, scholars, critics and curators, and anyone who is passionate about the lens-based arts.

The provocative pop artist's on-screen experiments, newly brought to light in this essential reference work In the 1960s, Andy Warhol (1928-1987) produced hundreds of film and video works-short and long, silent and sound, scripted and improvised. This catalogue raisonne of the artist's films, a complement to 2006's Andy Warhol Screen Tests, focuses on works he produced from 1963 to 1965. Detailed cataloguing of each work is combined with orienting and enlightening essays that cover Warhol's influences, source material, working methods, and technical innovations, as well as his engagement with the people he filmed and how they came to life on the screen. In addition, rich entries offer detailed summaries and analysis of more than a hundred individual works. The vigorous illustration program includes countless stills and documentary images to further elucidate the film works, including many that have circulated only rarely. Warhol's dynamic and creative approach to filmmaking redefined the genre, drawing audiences and receiving positive attention along with deep criticism. In 1970, he placed his films in storage for the next 14 years, taking them out of public view and distribution. During that time, critics and audiences could only piece together information about these works from hearsay, verbal accounts, and reviews. Since then, the works have been studied, preserved, and catalogued, culminating in this volume, which illuminates the true significance of Warhol's radical experiments in film and his mastery of the medium. Distributed for the Whitney Museum of American Art

Based on the omnipresent term 'Industry 4.0', the publication #material4.0 reflects the interplay between the virtual world and the physical-real space. As part of the exhibition at Galerie Stadt Sindelfingen, 13 international artists, mostly 'digital natives', examine how computer dependent automation and digitalisation are reflected in an art context. How does art output change from production to the aesthetic? How is this kind of media used in posing artistic questions? The positions of digital art pioneers fill us in. The publication documents the exhibition with numerous illustrations of works and a collection of complementary texts. Artists: Christian von Borries, Kate Cooper, JAK, Kanta Kimura, Mathilde Lavenne, Jung Lee, Florian Model, Manfred Mohr, Marco Schmitt, Lidia Sigle, Adam Slowik, Ivar Veermae, Ryszard Winiarski. With contributions by Manfred Mohr, Frieder Nake and Peter Weibel. Exhibition at the Galerie Stadt Sindelfingen (DE), 6 October 2018 - 3 March 2019. Text in English and German.

Meet some of the finest 2D and 3D artists working in the industry today and discover how they create some of the most innovative digital art in the world. More than a gallery book or a coffee table book- Digital Art Masters Volume 4 includes 50 artists and 900 unique and stunning 2D and 3D digital artworks. Beyond the breaktaking images is a breakdown of the techniques, challenges and tricks the artists employed while creating stunning imagery.
This volume, much like the previous volumes is not your standard coffee table book nor is it our usual how-to-book. This book offers inspiration and insight for the advanced amateur and professional CG artists. The Digital Art Masters series has expanded upon the competition's gallery book concept and has added the insight and experiences of professional CG artists worldwide.
Divided into 5 sections, Sci-Fi, Scene, Fantasy, Character and Cartoon, Each featured artist segement will include the thought processes behind creating unique digital images and an artist portfolio for further inspiration. Find your inspiration and discover the tips, tricks and techniques that really work.

Light has fascinated human beings since the dawn of mankind. To that end, iridescence is a compelling means to ideate and create, due to its ability to interact with light to produce captivating multi-coloured illusions that shift with the viewer's vantage point. Its kaleidoscopic nature also allows it to be subtle yet striking all at once, making it a versatile finish with lasting visual impact that pops. PALETTE 08: Iridescent explores the power and possibilities of a colour and a palette both existing in a single form through more than 100 creative projects from all around the world. Whether they are applied to create depth and dimension or used to transform physical attributes and perspectives, discover how artists and designers today are experimenting with holographic hues to generate new work and realms that intrigue and inspire.

Henry Willson was one of the quintessential power brokers in Hollywood during the late 1940s and 1950s when he launched the careers of Rock Hudson, Lana Turner, Tab Hunter, Natalie Wood, and many others. He was also a true casting couch agent, brokering sex for opportunity on the silver screen. While this practice was rampant across Hollywood, for gay actors and film professionals the casting couch was a dangerous cliff: a public revelation could and would ruin a career. "The Man Who Invented Rock Hudson" is an incredible biography as well as a harrowing look into Hollywood at a time of great sexual oppression, roaming vice squads searching for gay and/or communist activity, and the impossibilities for gay actors of the era.

Perhaps best known for Rebel without a Cause, American filmmaker Nicholas Ray directed dozens of movies in the film noir genre, including In a Lonely Place, Johnny Guitar, and They Live by Night. Born in Galesville, Wisconsin, in 1911, Ray was an iconoclastic figure in film-an alcoholic, depressive, and compulsive gambler-who found himself increasingly blacklisted in Hollywood in the 1960s only to be heralded as the spiritual father to American cinema's New Wave and one of America's greatest rebel auteurs. From Martin Scorsese to Jean-Luc Godard and Jim Jarmusch, Ray's influence can be seen throughout the work of some of the twentieth century's greatest directors. In this authoritative biography, Bernard Eisenschitz leaves no stone unturned.

Francois Truffaut called "Night and Fog" "the greatest film ever made." But when Alain Resnais finished his documentary, with its depiction of Nazi atrocities, the resistance of the French censors was fierce. A mere decade had passed since the end of the war, and the French public was unprepared to confront the horrors shown in the film--let alone the possibility of French complicity. In fact it would be through "Night and Fog" that many viewers first learned, as film critic Serge Daney put it, "that the worst had only just taken place."

An engrossing account of the genesis, production, and legacy of Resnais's incomparable film, this book documents in extraordinary detail how a film that began as a cinematic spin-off of an educational exhibition on "resistance, liberation, and deportation" went on to become a significant step in the building of a collective consciousness of the tragedy of World War II. Sylvie Lindeperg frames her investigation with the story of historian Olga Wormser-Migot, who played an integral role in the research and writing of "Night and Fog"--and whose slight error on one point gave purchase to the film's detractors and revisionists and Holocaust deniers. Lindeperg follows the travails of Resnais, Wormser-Migot, and their collaborators in a pan-European search for footage, photographs, and other documentation. She uncovers creative use of liberation footage to stand in for daily life of the camps featured to such shocking effect in the film--a finding that raises hotly debated questions about reenactment and witnessing even as it enhances our understanding of the film's provenance and impact.

A microhistory of a film that altered the culture it reflected, "Night and Fog "offers a unique interpretation of the interworking of biography, history, politics, and film in one epoch-making cultural moment.

(Bilingual edition: English / German) Between light and shadow Liddy Scheffknecht is one of Austria's most experimental young visual artists. The publication Liddy Scheffknecht - Points in Time presents selected works from the past decade (2010-2020). Liddy Scheffknecht's work encompasses a broad spectrum of media, yet forms a coherent, ongoing artistic program. In photographic sequences, installations, sculptures, drawings, and media hybrids, the artist explores the relationship between temporality, perception, and space; in doing so, she creates and ruptures illusions in equal measure. Liddy Scheffknecht's artistic works use immaterial media such as sunlight and shadow as well as classical sculptural materials and digital media.

Before the advent of television, cinema offered serialized films as a source of weekly entertainment. This book traces the history from the days of silent screen heroines to the sound era's daring adventure serials, unearthing a thriving film culture beyond the self-contained feature. Through extensive archival research, Ilka Brasch details the aesthetic appeals of film serials within their context of marketing and exhibition, looking at how they adapted the pleasures of a flourishing crime fiction culture to both serial visual culture and the affordances of the media-modernity of the early 20th century. The study furthermore traces the relationship of film serials to the broadcast models of radio and television and thereby shows how film serials introduced modes of storytelling that informed popular culture even beyond the serial's demise.

Barbis Ruder: 10 Jahre Performancekunst Im Fokus der Arbeiten der Performance- und Medienkunstlerin Barbis Ruder steht der Koerper - als Ausgangs- und Untersuchungsobjekt zugleich. In ihren Performances und multimedialen Arbeiten lotet Ruder Themen wie Wirtschaft, Arbeit, Intimitat und Konventionen aus. Der Koerper kommt im bewegten Bild, in Skulpturen, Installationen und auf der Buhne zum Einsatz. Das Buch prasentiert erstmals das gesamte Werk von Barbis Ruder und zeigt die Vielschichtigkeit ihres Schaffens. In unterschiedlichen Werkzyklen wird der Koerper immer wieder neu ver- und behandelt, im Spannungsfeld zwischen Emanzipation und Kapitalismus. Die umfangreiche Werkschau versammelt trashige Buhnenperformances und bildhauerische Werke ebenso wie Videoarbeiten und gibt Einblicke in Werkentwicklungen, die durch Zeichnungen und Studien dokumentiert sind. Erstes umfassendes Werkportrat der Performance- und Medienkunstlerin Barbis Ruder Aufwendig gestaltetes Buchobjekt, mit zahlreichen grossformatigen Abbildungen Mit Beitragen von Lona Gaikis und Peter Kozek sowie einer Einleitung von Madeleine Frey

This volume presents an original framework for the study of video games that use visual materials and narrative conventions from ancient Greece and Rome. It focuses on the culturally rich continuum of ancient Greek and Roman games, treating them not just as representations, but as functional interactive products that require the player to interpret, communicate with and alter them. Tracking the movement of such concepts across different media, the study builds an interconnected picture of antiquity in video games within a wider transmedial environment. Ancient Greece and Rome in Videogames presents a wide array of games from several different genres, ranging from the blood-spilling violence of god-killing and gladiatorial combat to meticulous strategizing over virtual Roman Empires and often bizarre adventures in pseudo-ancient places. Readers encounter instances in which players become intimately engaged with the "epic mode" of spectacle in God of War, moments of negotiation with colonised lands in Rome: Total War and Imperium Romanum, and multi-layered narratives rich with ancient traditions in games such as Eleusis and Salammbo. The case study approach draws on close analysis of outstanding examples of the genre to uncover how both representation and gameplay function in such "ancient games".