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Gottfried Helnwein is known for his hyper-realistic images and his
photo portraits of celebrities such as Mick Jagger, Michael
Jackson, Andy Warhol, Arnold Schwarzenegger, Marilyn Manson and the
band Rammstein. In his provocative images, he articulates themes of
violence and abuse in ways that are as compelling as they are
shocking. In particular, children, whose innocence, naivety and
tenderness he brings into focus, are projection surfaces for him.
From Wagner and Nietzsche, a stringent arc develops to Hitler's
propaganda machinery, the staged epic mass marches of the SS, and
leads in Helnwein's case not least to his great Carl Barks
admiration, whereby he himself fits Mickey Mouse into the context
of Nazi rule. This book is dedicated for the first time to this
level of reflection in Helnwein's work and first summarises those
dark paintings in which the image is developed out of blackness and
deep blue (as a romantic keynote) and leads over to the atrocities
of the Nazi regime, in that in particular the experiments on
imprisoned persons and those segregated into psychiatric wards
underpin the racial ideology. Text in English and German.
The art of Boris Lurie (* 1924, Leningrad) and Wolf Vostell (*
1932, Leverkusen) is determined by the break in civilization in
Germany in 1933, which made the German genocide of German and
European Jews (the Shoah) possible. Both artists make the Shoah the
subject of their work in a radical way. They work - initially
independently of one another - with the means of painting and
during the 1950s they resort to the stylistic devices of the first
avant-garde: Cubism, Dadaism, Surrealism. They strategically employ
collage and assembly techniques. Vostell later develops the subject
further in the media of happening and video art while Lurie takes
up writing. In 1964 the artists met in New York and entertained a
lifelong friendship.
The Chinese artist Deng Guo Yuan has spent his entire life dealing
with the theme of the garden. He interprets this theme against the
background of the knowledge of the Chinese tradition. In the
Chinese philosophy of Daoism it is regarded as a 'way', 'method' or
'principle'. It is the highest reality and the highest mystery, the
primordial unity, the cosmic law and the absolute. Text in English
and German.
The Haukohl Family stands in the wake of a lasting tradition of
European and American collecting practices for the benefit of
future generations. Published to accompany an exhibition at the
Luxembourg National Museum of Art, October 2018 to February 2019.
For six generations the Haukohls have collected art, rare books,
drawings, sculpture and textiles. It has been the fulfilling result
of a Milwaukee-based American Midwestern family who has had equal
determination and always with an eye towards acquiring fine art for
the benefit of the future generations. This book presents
masterworks of Italian painting and sculpture from the 16th through
18th centuries drawn from the largest private American collection
of Florentine Baroque painting, featuring works by key artists such
as Cesare Dandini, Jacopo da Empoli, and Francesco Furini.
The work of the prize winning Peruvian American light artist
Grimanesa Amoros is characterised by organic forms and an
instinctive approach. The basis of her fascinating sculptures lies,
however, in the natural sciences, social history and critical
theory. Research and feeling establish a form of communication in
her works. The expansive sculptures and video installations of
Grimanesa Amoros have already been shown all over the world: from
Mexico to Tel Aviv and from Beijing to Times Square in New York.
She presented her latest works, "OCUPANTE" and "GOLDEN SECRET
ROOM", In the Ludwig Museum Koblenz. The artist creat es playful
light installations which are so enigmatic that they permit
interpretations on different levels. Together with an overview of
her work, this volume reproduces the works in large format
illustrations, thereby reproducing their fluidity and luminosity.
Sean Scully (* 1945 in Dublin) is considered one of the most
significant abstract painters of our time. For decades he has
produced a wealth of variations on his core theme of lines and
stripes, creating works with a fascinating range of tone and
expression from the romantic to the melancholic. Early on in his
career Scully did figural work, to which he still feels
indebted; “To this day my paintings retain a sense of the body,
and the feeling of a physical relationship with the world.” He
considers German Expressionism one of his sources of inspiration
and specifically cites the influence of artists André Derain,
Henri Matisse, Karl Schmidt-Rottluff, and Ernst Ludwig Kirchner.
The stroke of the brush is a visible component of his painterly
abstractions. The edges of his fields of color are delineated by
hand, which lends his compositions a haptic quality. Presenting
surprising new perspectives on the artist’s work, this
publication is the first study on the interplay between figuration
and abstraction in Scully’s oeuvre. Ausstellungen/Exhibitions:
Ludwig Museum im Deutschherrenhaus Koblenz 31.8.–16.11.2014 |
Kunsthalle Rostock | Crawford Art Gallery, Cork
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