The well-known South African artist William Kentridge (b. 1955) has become famous for his time-lapse animation movies and installations, as well as his activities as an opera and theater director. This book offers a unique selection of Kentridge's work curated for Sint-Janshospitaal in Bruges-at 800 years one of Europe's oldest surviving hospital buildings - organized around the themes of trauma and healing. The book features an introduction by Margaret K. Koerner, and also includes essays by diverse distinguished contributors: Benjamin Buchloh considers Kentridge's alternate reception of the historical avant-garde from a perspective of exile; Joseph Leo Koerner explores the artist's work as a self-styled process of working in which the past simultaneously disfigures and redeems; and Harmon Siegel examines Kentridge's approach to film history.

00s is the first exhibition that explores the 2000s, taking as its starting point one of the most important European collections of contemporary art - the Cranford Collection. This accompanying catalogue selects 100 works from the collection, and includes pieces by artists such as Louise Bourgeois, Cindy Sherman, Damien Hirst, Gerhard Richter, Raymond Pettibon, and Josh Smith. With an introduction by Nicolas Bourriaud, the CEO of MO.CO, and interviews with Muriel and Freddy Salem, the Patrons of the Cranford Collection. Text in English and French.

"Pars Pro Toto II" was, like the first volume in 2008, developed in the course of a close dialogue between the German Egyptian artist Susan Hefuna and the editor, Hans Ulrich Obrist. It presents Hefuna's recent body of work.

Susan Hefuna's work has been widely exhibited at such venues as the Louvre, Paris; Townhouse Gallery, Cairo; the House of World Cultures, Berlin; the Third Line Gallery, Dubai; Sharjah Biennial; Albion Gallery, London and New York; the New Museum, New York; and Sevilla Biennial. She has been nominated for the 2009 Jameel Prize by London's Victoria and Albert Museum, and will be included in the Venice Biennial in 2009.

Massin (b. 1925) emerged as one of the key players instrumental in the evolution of graphic arts following World War II. His work in the field is a model of creativity infused with elegance and humour, and has covered editorial design, graphics, poster and logo design; art direction, typography and photography; and publishing, design education and writing. Throughout his career, Massin has developed a diverse and forward-thinking body of work with some of the most prestigious cultural institutions and the post-war literary world. During his 20 years working with the pre-eminent, French publisher, Gallimard, he established and developed their art direction department, launched the Folio series - a popular collection of pocket books - and redesigned the famous logo for the Nouvelle Revue Francaise (New French Review literary publication).Massin is a book sculptor, and has worked on a freelance basis with an extensive range of other renowned publishers, including Hoebeke, Le Club Francais du Livre, Albin Michel, Plon, Le Seuil and Larousse. Collaborating with famous playwrights and writers such as Eugene Ionesco and Raymond Queneau, Massin explored the realm of 'expressive typography', making the text more energetic and exciting with the interplay of words and images. His concepts for Cantatrice Chauve, by Eugene Ionesco (1964 - in English The Bald Soprano, 1965 for the US edition, and The Bald Prima Donna, 1966 for the UK edition) and Exercices de Style, by Raymond Queneau, stand as masterpieces in book design and are commonly used by professors in graphic design classes to illustrate a unique adventure in the history of typography.Before the broken type associated with the design group, Pentagram emerged in the field of graphic arts, Massin was experimenting with letters, fonts and images, producing creative three-dimensional limited-edition covers and a series of imaginative book bindings. He also educated the public with his own publications on the techniques of typography with projects such as L'ABC du Metier and la Mise en Pages. His famous book La lettre de l'image (in English Letter and Image) is a unique anthology of illustrated and expressive letter forms. It was first published in 1970 in five languages, and has been in print ever since.

The first book to feature Jacob Lawrence's Nigeria series, this richly illustrated volume also highlights Africa's place as a global center of modernist art and culture This revelatory book shines a light on the understudied but important influence of African Modernism on the work of Black American artist Jacob Lawrence (1917-2000). In 1965, a New York gallery displayed Lawrence's Nigeria series: eight tempera paintings of Lagos and Ibadan marketplaces that were the culmination of an eight-month stay in Nigeria. Lawrence's residency put him in touch with the Mbari Artists and Writers Club, an international consortium of artists and writers in post-independence Nigeria that published the arts journal Black Orpheus. This volume and accompanying exhibition place the Nigeria series alongside issues of Black Orpheus and artwork created by Mbari Club artists, including Uche Okeke, Jacob Afolabi, Susanne Wenger, and Naoko Matsubara. Essayists explore the influence of Africa's post-colonial movement on American modernists and developing African artists; the women of the Mbari group; and the importance of art publications in circulating knowledge globally. Published in association with the Chrysler Museum of Art and the New Orleans Museum of Art Exhibition Schedule: Chrysler Museum of Art (October 7, 2022-January 8, 2023) New Orleans Museum of Art (February 10-May 7, 2023) Toledo Museum of Art (June 3-September 3, 2023)

The Museum Mayer van den Bergh in Antwerp is a house full of art. The museum today is internationally renowned as the home of the famous Dulle Griet ('Mad Meg') by Pieter Bruegel the Elder. For the locals living in Antwerp, the museum is above all a well-kept secret. At the same time, there is always amazement that so much beauty could be brought together in one place. Who built this collection? The museum is housed in an historic building that recalls two individuals, Henriette van den Bergh (1838-1920) and Fritz Mayer van den Bergh (1858-1901). The entire collection was assembled by Fritz, a man with a keen interest in the Medieval Renaissance periods. Following Fritz's early and unexpected death on 4 May 1901, it was his mother, Henriette van den Bergh, who had the museum built to house his art collection. By doing so, she preserved this exceptional collection and at the same time succeeded in keeping alive a memorial to her son. The museum opened its doors in 1904. This book offers an insight into the history of the museum and its founders. It is based on in-depth research carried out in the archive of Museum Mayer van den Bergh, which among other things contains the rich correspondence between Fritz and Henriette as well as an extensive photo collection. Over four chapters, the book explores the personalities behind the collection, their social background and networks, their interests and their modus operandi. More than anything else, this is the story of Henriette van den Bergh, the founder of the museum, who died 100 years ago. With her visionary projects, she proved herself not only to be a forceful personality, but also someone with a forward-looking organisational talent and an entrepreneur with an exceptional mission - and all in a period when the involvement of women in public life was anything but the norm.

The most comprehensive book yet about the Egyptian German artist Susan Hefuna, "Pars Pro Toto" was developed in the course of a dialogue with the editor, Hans Ulrich Obrist. Hefuna has been working in the media of drawing, photography, installation, and video since the early 1990s. She uses these various techniques to intertwine levels of meaning and reflect many-layered codes, which she interprets in both concrete and abstract manners.

Susan Hefuna, born in 1962, has been widely exhibited at such venues as the Louvre, Paris; Townhouse Gallery, Cairo; the Third Line Gallery, Dubai; Sharjah Biennale; the New Museum, New York; Albion Gallery, New York; and many more.

The work of 38 established and emerging artists explore the creative potential of risk-taking and transgression in contemporary life The unconventional theme underlying the art featured in this book is the struggle between risk-taking and the prediction algorithms that have become a feature of contemporary life. Does the influence of machine intelligence, and the coincident avoidance of risk, homogenize creative thought? These ideas are explored in the work of 38 established and emerging artists in a variety of media including painting, drawing, sculpture, sculpture, video art, computer art, and performance. Featured artists include Joelle Tuerlinckx, Ed Atkins, Esther Ferrer, Mounira Al Solh, and Shezad Dawoud. The book takes its title from a town on the French-Belgian border with a history as a well-known customs outpost. Distributed for Mercatorfonds Exhibition Schedule: WIELS Museum for Contemporary Art Brussels (September 12, 2020-February 10, 2021)

- The treasures of the Alba family represent more than five hundred years of patronage and collecting of European art of the highest quality and importance- Accompanies a 2016 exhibition at the Meadows Museum (Dallas) and in The Frist Center for the Visual Arts (Tennesee)The Meadows Museum at Southern Methodist University is honored to offer viewers in the United States their first opportunity to contemplate masterpieces from the leading historic private art collection in Spain. The treasures of the Alba family represent more than five hundred years of patronage and collecting of European art of the highest quality and importance. One hundred thirty-eight exemplary objects from these vast holdings will be presented in Dallas and then travel to the Frist Center for the Visual Arts in Nashville.Coinciding with the Meadows Museum's golden anniversary, the exhibition Treasures from the House of Alba: 500 Years of Art and Collecting and this companion publication trace the history of the Alba family from the fifteenth century through the present day through the works they collected. The book explores the family's wealth of paintings, sculptures, furniture, tapestries, and other objects, as well as the Alba archives and library. The stature of the painting collection is clear from the artists represented in the exhibition, among them Fra Angelico, Titian, Rubens, Mengs, Goya, Ingres, Sorolla, and Renoir. The relationship of the Alba legacy to America is highlighted in decorative objects and in a selection of documents from the Alba library related to Columbus and his voyages.The ten essays in this publication shed light on the dynasty's particular interest in collecting tapestries; its patronage of writers such as Garcilaso de la Vega; the influence of Eugenia de Montijo, empress of France, who was directly related to the Alba family; the pivotal roles of the Seventeenth Duke of Alba and his daughter, the Eighteenth Duchess, in the twentieth century, both of them keenly engaged with the art of their time; and the three palaces Liria, Monterrey, and Las Duenas that house much of the collection today. Finally, there is one essay covering the biographical life of the Albas as well as an article that discusses their artistic legacy. As a result, the book provides an in-depth study of the rich life and cultural achievements of this legendary dynasty that still lives strong today.

An exploration of Durer's career and legacy as an international traveling artist The visual legacy of Durer's travels extends far beyond his lifetime and throughout Europe, and the documents illuminating them offer unique insights into the distinctive ways Durer conducted and managed his career, making him an intriguing-and even controversial-figure. This generously illustrated book examines the career of preeminent Renaissance artist Albrecht Durer (1471-1528) as an international traveler, addressing his relations with artists from Italy to the Low Countries, including Giovanni Bellini, Joos van Cleve, Jan Gossaert, Lucas van Leyden, Quentin Massys, and Bernard van Orley. Bringing together paintings, drawings and prints, the book examines Durer as an artist-entrepreneur, explorer, and innovator of artistic theory. Durer's treatises and letters, and his detailed journal documenting his journey to the Low Countries in 1520-1, offer insights into his artistic practices and encounters with artists and patrons, as well as the nature of travel in the early 16th century. Published by National Gallery Company/Distributed by Yale University Press Exhibition Schedule: The National Gallery, London March 6, 2021 - June 13, 2021 Suermondt-Ludwig Museum, Aachen July 18, 2021 - October 24, 2021

This book is an ethnographic study of the travelling art exhibition Indian Highway that presented Indian contemporary art in Europe and China between 2008 and 2012, a significant period for the art world that saw the rise and fall of the national exhibition format. It analyses art exhibition as a mobile "object" and promotes the idea of art as a transcultural product by using participant observation, in-depth interviews, and multi-media studies as research method. This work encompasses voices of curators, artists, audiences, and art critics spread over different cities, sites, and art institutions to bridge the distance between Europe and India based on vignettes along the Indian Highway. The discussion in the book focuses on power relations, the contested politics of representation, and dissonances and processes of negotiation in the field of global art. It also argues for rethinking analytical categories in anthropology to identify the social role of contemporary art practices in different cultural contexts and also examines urban art and the way national or cultural values are reinterpreted in response to ideas of difference and pluralism. Rich in empirical data, this book will be useful to scholars and researchers of modern and contemporary art, Indian art, art and visual culture, anthropology, art history, mobility, and transcultural studies.

Tim Dirven won a World Press Photo Award with his picture of an Afghan woman, taken shortly after 9/11. Another photo of dancing flight attendants on a KLM airplane became famous after being bought by people around the world. Tim Dirven has been capturing iconic images for over 20 years. He defines his collected works as Karkas (carcass), because it centralises the architecture of man and animal, defining the essence of bodily existence. When everything has been eaten, the carcass is all that is left behind: the last witness. Similarly, this book is a search for the essence of existence. Dirven portrays no-nonsense people hardened by life, who are trying to find balance in an often insecure religious, cultural, political and ecological context.

Madness deranges, throws us off balance, and makes us lose our footing. Yet some writers claim that madness is an enlargement of normality. But how can that which we cannot control belong to 'normality'? And what is normality? For more than 30 years, the permanent display on psychiatry has been the very heart of the Museum Dr. Guislain in Ghent. The history of psychiatry is the inspiration for new thematic exhibitions every year, in which the museum seeks to dislodge entrenched views and deep-rooted stigmas and reframe them in the context of today. In October 2019, this permanent display received a make-over and has been presented under the title 'Unhinged', in which the Museum Dr. Guislain offers a fresh look at its own history as a museum. The richly illustrated publication explores the boundaries of the traditional and goes in search of the sane in the insane. It provides an overview of psychiatry on the basis of five contemporary themes that enter into dialogue with each other: 'power and powerlessness', 'body and mind', 'architecture', 'classification' and 'imagination'. Historical documents are also put side by side with contemporary art, creating a dynamic interpretation. This new approach reflects today's 'crazy' society, in which, happily, increasing attention is being paid to psychological vulnerability, but in which mental health care is also facing new challenges more than ever.

The Stebbins Collection - the private collection of Dr. Theodore E. Stebbins, Jr., the esteemed historian of American art and foremost expert on Martin Johnson Heade, and his wife, Susan Cragg Stebbins, successful author and art historian - consists of 70 American paintings, sculpture, and works on paper by 53 artists. Recently donated to The Charles Hosmer Morse Museum of American Art, Florida, this incredible collection includes remarkable works by American masters ranging from Martin Johnson Heade and Thomas Eakins to Fidelia Bridges and John La Farge, well-known artists Albert Bierstadt and Thomas Moran and little-known figures like Arthur I. Keller and Walter Granville-Smith. Publication in October 2021 will not only highlight the significance of this private collection built over a lifetime by the Stebbinses, but it is also a valuable contribution to the field of 19th and early-20th-century American art, and to the history of collections and collecting.

Torn Modernism illuminates an important moment in the history of the Kunstmuseum Basel's collection. In 1937 the Nazi cultural policy denounced thousands of works as "degenerate" and forcibly removed from German museums. The Third Reich's Ministry of Propaganda correctly assumed that a portion of such works would find buyers abroad, in this way certain artworks deemed "internationally exploitable" reached the art market via various channels. Georg Schmidt (1896-1966), the museum's director at the time, managed in 1939 to acquire the Painting Animal Destinies by Franz Marc (1880-1916) and twenty avant-garde masterpieces all at once. In the catalogue, renowned experts trace the events based on the seizures in German museums and explain the historical contexts. The actors of the institutions and the art market are presented, and the Nazi regime's act of cultural violence is revealed, which resulted in an artificial fragmentation of Modernism into art that was "exploitable" on the one hand, and art that had been destroyed or forgotten on the other. Contributions on the auction of the Galerie Fischer in Lucerne, on Georg Schmidt's approach, and on the classification of the acquisitions in the context of Basel's collection history bring specific Swiss aspects into focus.

In the decades bracketing the turn of the twentieth century, Charles M. Russell depicted the American West in a fresh, personal, and deeply moving way. To this day, Russell is celebrated for his paintings and sculptures of cowboys at work and play, his sensitive portrayals of American Indians, and his superlative representations of landscape and wildlife. This handsome book--a companion volume to the acclaimed "Charles M. Russell: A Catalogue Raisonne," edited by B. Byron Price--showcases many of the artist's best-known works and chronicles the sources and evolution of his style.

Here are iconic images that have defined the West in the popular imagination for more than a century. The volume boasts reproductions, most in full color, of more than 150 of Russell's finest works in oil, bronze, and mixed media. Select examples of his drawings, watercolors, and illustrated letters as well as archival photographs place Russell's paintings and sculpture in historic and artistic context.

This sumptuous volume is an essential addition to the library of every aficionado of American western art. In its pages readers will discover the work of a man whose ideal vision of the American experience continues to stir the spirit nearly a century after his death.

Creating works with a fascinating range of tone and expression, Sean Scully's oeuvre is a continuous exploration of his core motif of lines and swaths of color. Captivating the observer through an uncertainty of edges and brushstrokes that appear to exalt the materiality of paint, pigment, and abstraction, Scully experiments with a variety of media and materials. Material World provides insight into the artist's practice and stylistic approach, which have evolved through a sustained engagement with the art historical tradition of Formalism. In an in-depth essay, Raphy Sarkissian situates Sean Scully's art in dialogue with selected works of abstract and figurative, modern and pre-modern painting and sculpture, as well as with aesthetic theories. This dialogue translates further into the interplay of the museum's architecture and the Neoclassical sculptures presented alongside Scully's work.

Andy Warhol (1928-1987) is arguably the most iconic figure in twentieth century art, an enigmatic personality who not only altered the definition of art itself but also in his wake left a vast and staggeringly complex record of his activities. Warhol's archive consists not only of his artworks but also 1,500 cardboard boxes, flat files, and trunks filled with source material, memorabilia, correspondence, and junk mail. When the catalogue raisonne is complete, it will constitute an indisputable record of the artist's paintings, drawings, and sculptures -- some 15,000 works produced by the artist between 1948 and 1987, the year of his death.

Volume I documents the artist's early paintings and sculpture made between 1961 and 1963 and incorporates newly discovered works as well as some previously thought to be lost. Included are not only projected paintings influenced by popular advertisements, comics and other printed ephemeral but also classic and much-prized Warhols such as the Campbell Soup paintings, serial works representing cultural icons Marilyn, Liz, Elvis, photobooth portraits of Warhol's friends and idols as well as early self-portraits. Accompanying the works and detailed catalogue entries is an amazing array of source material -- from newspaper scraps and movie star publicity stills to photographs of Warhol and his consorts in his studio and at exhibitions.

In consultation with a team of experts, Georg Frei and Neil Printz analyze Warhol's unique techniques and subject matter as well as establish a strict chronology for his stylistic evolution. Their text provides both a compelling overview and unparalleled detail of an endlessly fascinating life and career.

The projectis co-sponsored by the Andy Warhol Foundation for the Visual Arts in New York and Thomas Ammann Fine Art in Zurich.

The Andy Warhol Catalogue Raisonne is the result of more than 25 years of planning and research and will constitute the indisputably definitive reference to Warhol's voluminous artistic production. The editors and advisors of the catalogue raisonne established rigorous standards of authenticity for Warhol's work, unequivocably differentiated individual works within a series, and discovered works that had been unknown or were thought to be lost. All of their findings are documented in this unprecedented project.

The catalogue raisonne project was initiated in 1977 by Thomas Ammann. The editors George Frei and Neil Printz began primary research in 1993, advised by the distinguished curators and art historians Kynaston McShine and Robert Rosenblum. Experts from the Andy Warhol Foundation reviewed archival materials, personally examined nearly each work of art, analyzed works in museums in their conservation facilities and discussed them with conservators, submitted works for review by the Andy Warhol Art Authentication Board, and interviewed Warhol's assistants and colleagues to assemble a customized database of works unparalleled inmWarhol scholarship. Warhol's method of working in serial compositions, silkscreen, and repeating units challenges traditional art connoiseurship and begs the question not only of what is and what is not Warhol, but which Warhol is it? For each work, the catalogue answers, among other things, two central questions: When was it made? and How was it executed?

Volumes in the series are organized on the basis of Warhol's self-identification as apainter. Warhol began to produce his first concentrated body of paintings in 1961 and continued in the same studio on Lexington Avenue in New York until 1964, when he established the Factory, his studio at 231 East Forty-seventh Street. Volume I documents the work Warhol produced in his first studio, from 1961 until 1963. (Subsequent volumes record separately the earliest work in drawing from 1948 to 1961; work from 1964 to 1968, and the paintings and sculpture of the 1970s and the 1980s.)

Each volume of the catalogue raisonne will have a silk-screened cover and gatefolds showcasing Warhol's serial work, and will constitute a unique collectible object whose pop-art sensibility complements the scholarly and curatorial insights contained within. All works are reproduced in color, with 2-color text that makes it easier for readers to find their way through the catalogue entries. These list for each work the standard data (dimensions, date, present owner, inscriptions and special notes), provenance, exhibitions, and literature. Volumes are organized according to catalogue number, with works reproduced in numerical order, followed by the corresponding texts. Supplementary figures to the texts illustrate primary materials Warhol appropriated for his works -- newspaper articles and advertisements, soup cans, publicity stills -- as well as photographs of the works in Warhol's studio and in galleries. Volume I includes 14 appendices, essays that briefly examine particular aspects of Warhol's work such as his materials and his studio; notes to the catalogue texts; a title index; and a comprehensive general index. Indexes cross-reference works with their catalogue numbers and page numbers asthey appear in the book.