Vertigo seeks to document the surge of multimedia art driven by the advent of new technologies, including works produced by great names in art such as Balla, Warhol, Beuys, Anselm Kiefer, Nam June Paik, and Laurie Anderson.

"For fifty years I've been practicing different kinds of writing: scripture: a theoretical one for essays, one for the production of books and catalogues, and one focused on the exhibitions. The story of (my) exhibitions aims to draw attention to this last kind of writing". - Germano Celant This book, which Germano Celant (Genoa, 1940 - Milan, 2020) had been working on for years, is published posthumously and represents the professional and spiritual testament of this well known and internationally respected curator. It tells the story of the exhibitions that characterised Celant's work presenting, in chronological order, a selection of 34 exhibitions: from Arte povera - Im-spazio, Genoa, 1967, to Post Zang Tumb Tuuum: Art Life Politics - Italia 1918-1943, Milan, 2018, passing through Identite italienne - L'art en Italie depuis 1959, Paris, 1981; Futuro Presente Passato, 47 - Venice International Art Exhibition, 1997; When Attitudes Become Form - Bern 1969/Venice, 2013; and Arts & Foods. Rituals since 1851 - Milan, 2015. The books retraces the exhibitions through over 400 pictures of the actual displays and the critical texts that were published in the respective catalogues. Thus emerges the evolution in Celant's curatorial practice, from personal interpretation to his focus on historical documents, with an eye always turned towards non-traditional media (book, record, photography) and towards the encroachments between different languages (art, architecture, design). Text in English and Italian.

A groundbreaking work, edited by Germano Celant in collaboration with the artist and her New York studio, which enriches our knowledge of Louise Bourgeois. Over a long career she worked through most of the twentieth century's avant-garde artistic movements from abstraction to realism, yet always remained uniquely individual, powerfully inventive, and often at the forefront of contemporary art. She was one of the world's most respected sculptors, best known for her public-space pieces, grand-scale sculptures of spiders so large they must rest outside. But beginning in the 1960s, she used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions, constituting a repertoire of truly surprising interweaves. This set of images is collected here in its entirety for the first time, constituting the closest thing yet to a general catalog.

In spring 2009, Dumbarton Oaks inaugurated an occasional series of contemporary art installations intended to provide unexpected experiences and fresh interpretations of its gardens and collections. The first artist selected was the American sculptor Charles Simonds, who is well known for clay sculptures that document the wanderings of a fantastical civilization of Little People whose landscapes, architectures, and rituals have been imagined by the artist since the early 1970s. The outcome was a project that spanned the whole institution. A wide range of his current sculptures--some architectural, some figural, and some evocative of landscape, most preexisting but one made especially for the exhibition--was installed between May and October 2009 in various spaces at Dumbarton Oaks.

"Landscape Body Dwelling" documents and reflects on the installation. Essays by Ann Reynolds and Germano Celant situate it within the broader context of Simond's artistic career, while essays by John Beardsley and Joanne Pillsbury detail the often surprising connections between the exhibited works, the garden elements, and the permanent collections at Dumbarton Oaks. Richly illustrated with photographs of the installation, this volume demonstrates how contemporary culture connects us with the past, reinvigorating historical tropes while enlivening the institutions that continue to speak them.

This catalogue documents the first exhibition in the Middle East by KAWS (Brian Donnelly, born 1974, USA). The solo show explores his career and vast oeuvre and features paintings and sculptures made over the past 20 years. KAWS' imagery has long possessed a sophisticated, dark humour, revealing the interplay between art and consumerism, referencing both art history and pop culture. Donnelly began his career in street art in the 1990s, becoming synonymous with the name KAWS, a tag that became a staple in his 'sub-vertisments' (modifications of commercial works). In addition to more than 40 major pieces exhibited in the Garage Gallery, examples of commercial collaborations designed by KAWS, among them sneakers, skateboards, and toys are on view in a separate archive above Cafe 999. A massive 5-meter-tall sculpture, COMPANION (PASSING THROUGH) (2013), in the Fire Station courtyard and an inflatable 40-metre public artwork at the Dhow Harbour, HOLIDAY (2019), also serve to highlight the exhibition.

A vibrant look at the celebrated artist and designer KAWS. This comprehensive monograph explores KAWS's art career in depth, from his early street art interventions to his recent send-ups of familiar cultural icons. With wit, irreverence, and even affection, KAWS takes infamous entertainment characters such as the Simpsons and the Smurfs and traps them in plastic blister packages while reinterpreting their appearance. The packaged "Kimpsons" and "Kurfs" are new types of hybrid artworks that both serve and criticize contemporary consumer culture. Also featured is KAWS's astute and prolific body of commercial work, including apparel from his Japanese store OriginalFake, a partnership with Medicom Toy, as well as product design, limited-edition toys, graphic designs; collaborations with architect Masamichi Katayama and artists Hajime Sorayama, Todd James, and Mark Dean Veca; collaborations with companies including Comme des Garcons, Levis, Lucas Films, The Simpsons, Nike, Supreme, and Marc Jacobs; and Japanese companies such as A Bathing Ape, Undercover, and Visvim.

The definitive book on a creative force who continues to influence sculpture and installation art.

Jessica Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space - using found objects intertwined with profusions of vivid colours. This revised, updated edition spotlights the extraordinary evolution of her career, and examines the pivotal role she has played in shaping some of the most fundamental ideas around which contemporary sculpture and painting revolve today.

On the centenary of his birth, this volume traces the entire work of Mimmo Rotella, a major Italian Pop Artist on the international scene of the twentieth century. Published to coincide with an exhibition at GNAM, Rome, 30 October 2018 - 10 February 10th 2019. Rich in critical contributions and a vast iconographic apparatus, the book traces every stage of Mimmo Rotella's career: from the first abstract works to the informal experiences of the 50s, from the relationship with Pierre Restany's Nouveau Réalisme to the tangencies with Pop Art and his relationship with America. Extensive detail is dedicated to his most famous research, the one revolving around the décollages and the back of posters, but also to Rotella's relationship with cities such as New York, Rome, Paris and Milan, with the critics and his contemporaries. This book is published on the occasion of Mimmo Rotella's centenary, and coincides with the largest ever exhibition dedicated to the artist (Rome, GNAM, 30 October 2018 - 10 February 2019). Texts by: Clare Bell, Tobia Bezzola, Paola Bonani, Ester Coen, Vincenzo De Bellis, Veronica Locatelli, Lola Lorant, Elizabeth Mangini, Gianfranco Maraniello, Massimo Mininni, Luca Pietro Nicoletti, Massimo Romeri, Paul-Louis Roubert, Francesca Pola, Marta Sironi, Antonella Soldaini, Chiara Spangaro, Francesco Tedeschi, Giulia Tulino & Riccardo Venturi.

An essential new look at the design philosophy that interrogated modern living against the turbulent political landscape of 1960s Italy In the mid-1960s, reacting to contemporary social and political upheaval, young Italian architects and designers began developing a new style that openly challenged Modernism. Known as "Radical design," this movement probed possibilities for visually transforming the urban environment. Radical design's proponents also applied it to items such as furniture and lighting, utilizing alternative materials and an innovative formal vocabulary. Radical: Italian Design 1965-1985 surveys the work of these pioneering designers through nearly 70 objects and architectural models-including rare prototypes and limited-production pieces. Cindi Strauss insightfully explores the aesthetic inspiration and changing cultural mores that informed the movement, and her research is complemented by an essay from Germano Celant, the acclaimed author and curator who coined the term "Radical design." Importantly, the book includes seven interviews with Radical designers and architects, offering fresh insights into the individuals who were at the vanguard of this groundbreaking movement. Published in association with the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston (February 14-April 26, 2020) Yale School of Architecture Gallery (September 3-November 20, 2021)

In 1972, Giulio Paolini held an exhibition in New York. Art historian, curator, and critic Germano Celant, who coined the term 'Arte Povera' in 1967, was asked to edit the exhibition catalogue. What followed was an ample monograph that covered the course of Paolini's career - his concepts, themes, contexts and influences. This was an unprecedented move, as, until that time, most galleries produced simple brochures. This monograph was one of the first in-depth and scholarly studies of a contemporary artist, and as such, paved the way for future monographs. Text in English and Italian.

A detailed overview of the work of Marco Bagnoli, one of the most representative artists on the Italian scene in the 1970s, in a gorgeous monograph that presents his complete production arranged in chronological order. A sort of catalogue raisonne, this volume presents 350 reproductions of installations that utilize various techniques: drawing, painting, print and sculpture.

Visual artist, choreographer, writer and director, Jan Fabre has been one of the most influential figures on the European scene for over twenty years. His provocative forays into all different art forms are aimed at breaking down the artistic and moral barriers of his times. Published on the occasion of the exhibition of Fabre's works at the MAXXI in Rome, the monograph brings together, for the first time, the action art and performances of the Belgian artist from the 70s to the present: drawings, "thinking models", collages, films, photos and other documentation that lay the groundwork for a rediscovery of dozens of Fabre's performances and interventions, both public and private, held in Belgium and abroad. The extreme, even brazen exploration of the human body, which frequently scandalizes viewers, is linked to the idea of metamorphosis, which Fabre may have derived from that passion for the sciences he inherited from his great-grandfather, the esteemed entomologist Jean-Henri Fabre. Jan Fabre has devoted much of his career to studying the human body and its transfiguration, central themes in his work; the artist considers performance art a "per-for-a(c)tion" of the body with respect to the outer world: a way to explore its limits, actions and reactions, both inside and out.

Emilio Vedova's artistic career began in Venice in the mid-1930s. He immediately felt the deep allure of grand Venetian painting and sculpture and, guided by the restless agitation and dynamic mobility of the baroque, was soon plunged into total and extreme three-dimensional involvement. The work in "Emilio Vedova Scultore" originates precisely from his feeling of being a living and breathing part of the beloved spaces he encountered along his way, inexhaustible sources of stimuli and incitement, which he transformed into volumetric works of sculpture, architecture, opera and theatre. In his 1958 exhibition in Warsaw, the geometrical work mounted on the ceiling of the Zachenta Palace confirms Vedova's interest in sculpture and his penchant for articulating spatial implications.
This is followed in 1959 in Venice by the L-shaped teleri in the painting/ambient of Palazzo Grassi and then by his opera Intolleranza '60 (Intolerance '60) at the Teatro La Fenice, in collaboration with Luigi Nono. With the Plurimi (1961-1965), foreshadowed by the Rilievi (Reliefs, 1960-1964), Vedova removes the painting from the wall and installs it in the space of a fragmented, intersected set of surfaces somewhere between painting, sculpture and architecture. In Berlin he creates the Plurimi of the Absurdes Berliner Tagebuch '64, which found their natural development a few years later in Spazio/Plurimo/Luce (Space/Plurimo/Light), executed for Expo 1967 in Montreal. In this work, fourteen glass slides produced by the artist on Murano are projected simultaneously up to a height of 16 metres in the asymmetrical space by an equal number of large-format projectors. In 1977-1978, he works on the Plurimi/Binari from his Lacerazione (Laceration) cycle, where sliding, superimposed surfaces and black and white paintings squeezed into massive steel frames create images in continual transformation. In the same period he also dedicates himself to the Frammenti/Schegge (Fragments/Splinters) cycle - precarious, solitary and asymmetrical presences - and to the ... Cosiddetti Carnevali... (... So-called Carnivals...). Lastly, in the 1980s Vedova began his large installations of the Dischi (Discs) and Tondi - refound, vital and aggressive repossessions of space.
This book addresses the artist's entire career as a sculptor and includes a study of his series of models - his way of taking notes in three dimensions - which mark out his tireless daily quest for expression of the total work, towards which Emilio Vedova was inexorably drawn.

Curator Germano Celant presents the largest exhibition in Europe of works by American artist, Richard Artschwager (1923-2013), commencing Italy, then in Spain. Turning to the understanding of space, everyday objects and perception, the poetics of Artschwager has established itself as a unicum in the art of the 20th century. His works deal with the representation of utilitarian instruments reproduced with industrial materials such as formica, celotex, acrylic painting, aluminum. To these fundamental aspects is added the attention to pure geometric form and pictorial illusionism, resulting in paintings and sculptures that suspend the categories of the image and objects in a limbo between the space they physically occupy, the usefulness they refer to and their artistic representation. Text in English and Italian.

Giovanni Gastel, by Germano Celant, presents the creative path of the Milanese photographer through the intertwining of his professional and biographical events, by making reference to the international fashion scene as well its complex communication system. The 'imaginary' journey that Gastel has developed through publication in magazines - from Vogue Italia to Harper's Bazaar - advertisement campaigns - from Dior to Guerlain - and exhibitions - from Gastel per Donna to Maschere e Spettri - is displayed through the reconstruction of forty years of experimental and commissioned work, in which 'serial' ensembles and individual products highlight the features of his storytelling, his unique use of light and his comparisons between people and objects. The goal is to document his operating method, based on the analysis and presentation of a subject in series: still life, portrait, fashion shot and personal research.

For his 2011 exhibition at the Serpentine Gallery, recorded in this volume, Arte Povera veteran Michelangelo Pistoletto (born 1933) devised a chest-high labyrinth made of cardboard, to draw visitors through the galleries and steer them into encounters with various sculptures.

Arman was a US-naturalised French painter. This book covers the first twenty years of Arman's artistic production, from the Accumulations of industrial objects and series products to the Poubelles, documenting consumer society's waste; from the famous Coleres, Coupes and Combustions, which through different processes dematerialise objects depriving them of their functionality, to paintings, to actions and monumental works adhering to the 'poetic of things'.