The immediate physical presence of color is central to Katharina Grosse's creative endeavor. Through an open-ended creative process in which painting takes on the form of a performance, color embodies movement, making its emotional potential tangible. These issues are not only driving her dramatically large in situ works painted across various surfaces in public places. They also inform her studio paintings, which have played an equally central role in her practice from the start. This book is the first study focusing on Grosse's studio practice from the late 1980s to the present. Five essays and an insightful interview with the artist explore how Grosse expands the concept of painting - not just in open space, but also on canvas - through creating an ephemeral character and removing the limitations of its traditional frame.

Gerhard Richter (*1932) is an exceptional personality - not because his pictures are world famous, but because he has demonstrated a new approach to painting. His art masterfully moves between abstraction and representation, sensuousness and denial - ambiv alent attitudes which he demonstrated even in his early work. Gerhard Richter's oeuvre overcomes the division between abstract and representational art. His pictures neither cultivate a modest interplay of colours and forms nor do they deliver an intact p icture of reality. Richter is a sceptical artist who questions the reality of his art even when the prime subject of his paintings is the tangible. This applies in particular to his door, curtain and window pictures of the 1960s, which form the central foc us of this volume. They stage a playful examination of the illusory nature of art, which always questions what painting shows or conceals. This lavishly appointed volume is published to mark the artist's 85th birthday.

As a central artist of early modernism, Alexej von Jawlensky (born in Torshok, Russia, in 1864, died in Wiesbaden in 1941) considerably expanded the possibilities of painting. Based on an expressive, colorful appropriation of the world, by reducing form and intensifying color, he made his pictures an expression of an immaterial and spiritual truth. Despite the great individuality of his path, his work continues to give important inspirations to painting until today with respect to color, the serial, and the spiritual. The exhibition and catalogue present an exemplary selection of some seventy paintings and drawings and trace the development of the three big topics of "face, landscape, and still life," to which Jawlensky dedicated himself in his work.

What is the place of painted pictures? What is their relevance? And what is their reality? Thomas Huber is an internationally acknowledged painter whose cool picture constructions, mostly devoid of humans, circle around these questions. In meticulously composed, surreal-looking scenarios he creates a world of paradox combinations and reflections that challenge reality. Thomas Huber (*1955) mostly creates pictorial spaces with an architectural character. In them he has been sounding out the various forms of appearance and effect for more than thirty years. This volume presents mainly recently created works by the artist, who was born in Zurich and now lives in Berlin. They refer to the horizon as a constant of all pictures constructed using perspective and as a metaphor for a boundary between the visibility of the motif and the invisibility of the associated dialogue. Texts by and a conversation with Thomas Huber demonstrate the systematic pictorial theories of the artist.

What is the mutual relationship between TV and art? The publication introduces artistic strategies used to explore TV and its specific contents and narrative forms in video, film, painting, sculpture and performance, ranging from the sculptural object of the TV box to the manipulation of the TV image and the use of its structure of lines and pixels in works of art. Television, which is among the most important inventions of the twentieth century, has developed a unique aesthetic and new communication structures worldwide. The early 1960s, the beginning of the development of TV as the first visual mass medium, were also the beginning of an artistic exploration of TV. From artists known for their work in this field such as Nam June Paik and Vostell to current works by younger generations of artists such as Thomas Demand, Tobias Rehberger, Ulrich Polster and Melanie Gilligan, this publication focuses on the analysis, paraphrasing and parody of TV formats and their pictorial nature, amongst other things.