The artists AROTIN & SERGHEI question the predominate language of our time: the constant visual observation of the infinite metamorphosis of “light cells”, the smallest components of digital imagery. Their most recent work, Infinite Screen, grapples with themes of endless space, the illusionary surface of images, and the genesis of light. This publication is a survey of the development of Infinite Screen over several cycles of intermedia drawings, pictures, installations, sculptures and compositions within constantly evolving parameters of scientific, mythological, philosophical, and architectural frameworks. The project 'Infinite Screen' was realized in several large-scale variations at Ars Electronica, the Venice Biennial, the Kunsthistorisches Museum Vienna and the Beyeler Foundation.

A gloriously illustrated volume that looks at the remarkable armor of a key Habsburg commander and its relationship to contemporary Renaissance fashion This sumptuously illustrated book celebrates a curious masterpiece of German Renaissance art--the Landsknecht armor of Wilhelm von Rogendorf (1523). Recently conserved to its original glory, this magnificent suit of armor, made for a trusted courtier, diplomat, and commander of infantry units for the Habsburgs, deceives the eye: the steel sleeves drape in graceful folds, with cuts in the surface, suggesting the armor is made from cloth rather than metal. The author of this fascinating volume explores the question: why does the armor look this way? Stefan Krause delves back five centuries to the political, social, and cultural context in which von Rogendorf lived. Among other key venues in the Holy Roman Empire, this story takes the reader to the court of Emperor Charles V in Spain and to Augsburg, the leading center of armor making, where Rogendorf was introduced to the court armorer of Charles V, Kolman Helmschmid (1471-1532). Helmschmid was famous for his inventive and masterfully sculptured works, and this book elaborates on his unique contributions to the history of armor, and how and why von Rogendorf's suit was informed by contemporary fashion. Distributed for the Kunsthistorisches Museum Vienna

The magnificent building on Vienna's Ringstrasse which was opened in 1891 is at once one of the most important examples of museum architecture in Europe and an outstanding document of the Habsburg dynasty's imperial self-representation. This new monograph on the history, architecture and decoration of Kunsthistorisches Museum presents the building's wealth of painted, sculptural and architectonic decoration vividly and with methodic attention to detail. The work includes a brief review of the historical development of museums, construction of the Ringstrasse from 1857, and plans for the Kaiserforum or Imperial Forum. It is also recounts the story of the stormy relationship between the architects Gottfried Semper and Carl von Hasenauer in their quest for a common artistic statement. Extraordinary and, in large part, new photographic material makes the book an excellent practical guide and equally allows the armchair visitor to experience the museum in all its splendour.

In fall 2012, Vienna's Kunsthistorisches Museum unveils a new exhibition series, in which established international artists are invited to curate a show based on the Museum's collections. This approach to reimagining a collection has several landmark precedents, such as the National Gallery London's "Artist's Eye" shows, for which Hockney, Freud and Bacon curated shows. The Kunsthistorisches Museum has selected Ed Ruscha to inaugurate their series. Ruscha first visited the Kunsthistorisches Museum in 1961; 50 years later, having spent time with its curators and its collection, he has produced the fascinating exhibition which this catalogue accompanies. Composed of paintings, sculptures and nature specimens that intrigue, amuse or confuse Ruscha, this exhibition and catalogue offers a portrait of the artist's taste and thought. The catalogue reproduces Ruscha's selection on 40 individual loose cards (with descriptive text on the rear, plus commentary by Ruscha), housed in a card slipcase.

A pioneering exploration of Rothko's deep and sustained engagement with the history of art While Mark Rothko (1903-1970) has long been considered a preeminent figure in 20th-century art, few publications have examined his work within the broader context of Western art, even though Rothko himself continuously sought it out as inspiration. Rothko had a profound interest in history and art history-including Greek and Roman mythology, Egyptian fables, Byzantine and early Italian gold-ground paintings, and masterworks of the Renaissance and Dutch Golden Age. He first traveled to Europe in 1950, starting in Paris and winding through Venice, Arezzo, Siena, Florence, and Rome; along the way, he admired frescoes by Fra Angelico and architecture by Michelangelo. This beautiful book examines the influence of the artist's travels on his oeuvre. It presents Rothko's engagement with important classical and Old Master works, highlighting older techniques and ideas that the artist may have sought to emulate. Works representative of Rothko's entire corpus are beautifully illustrated with full-page color plates. The book also contains writings by the artist-selected for publication by his son-that document his appreciation of art history in his own words.