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As artists, they were self-taught and created a cosmos of images
that still captivates us today with its sensual immediacy and has
made a lasting mark in art history on the work of non-academically
trained artists: Henri Rousseau (1844-1910), Camille Bombois
(1883-1970), Andre Bauchant (1873-1958), Louis Vivin (1861-1939)
and Seraphine Louis (1864-1942). They are counted among the
so-called circle of the "painters of the sacred heart"; their
scenarios, often borrowed from nature, especially flowers and
fruits, but also people in parks and landscapes, indicate a
closeness to nature, a sensitive approach to the things of the
immediate environment, with which they apparently sought to escape
the coldness of uprising modernism. These French pioneers of
authentic art were discovered by the German art historian Wilhelm
Uhde (1874-1947), who organized their first joint exhibition in
Paris in 1928.
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K (Hardcover)
Martin Kippenberger; Edited by Udo Kittelmann, Mario Mainetti; Foreword by Patrizio Bertelli, Miuccia Prada; Text written by …
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R1,800
Discovery Miles 18 000
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Ships in 10 - 15 working days
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Julian Rosefeldt: Manifesto (Hardcover)
Julian Rosefeldt; Edited by Anna-catharina Gebbers, Anneke Jaspers, Udo Kittelmann, Justin Paton
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R1,161
R958
Discovery Miles 9 580
Save R203 (17%)
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Ships in 12 - 17 working days
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Jack Whitten (Hardcover)
Udo Kittelmann, Sven Beckstette
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R1,269
R1,108
Discovery Miles 11 080
Save R161 (13%)
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Ships in 12 - 17 working days
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Jack Whitten's alluring and inventive paintings are part of the
collections of some of the world's most prominent museums and
galleries-but this profoundly inventive artist worked primarily
under the radar for most of his life. This book, conceived with
Whitten's collaboration shortly before his death in 2018, brings
his work into focus, highlighting in particular the themes of
history, politics, and music. As a young man in Alabama, Whitten
was angered by the racism he experienced. When he moved to New York
City, he was inspired by the Abstract Expressionists dominating the
art scene there. This book examines Whitten's influences and
alliances-including his relationship to his mentors Norman Lewis
and Willem de Kooning-to trace how the artist never stopped
experimenting and innovating. His riotously colorful oils gave way
to massive acrylic "Slab" paintings. These were followed by
kaleidoscopic mosaic paintings that capture and redirect light; the
"Black Monoliths" series, memorializing Whitten's personal heroes;
and his later works, which embrace technology and the digital age.
What could the primarily Western collection of the Nationalgalerie
look like today if a global understanding of art had informed its
development? Looking at artworks from non-European centres of
Modernism and their activities, untold stories and overlooked
connections are picked up and developed. The Nationalgalerie Berlin
subjects its collection to a critical revision, focusing on those
areas of the collection which are not central to a Western
understanding of art. Starting points include Heinrich Vogeler's
turn to the Soviet Union, the Dadaist Tomoyoshi Murayama's sojourn
in 1920s Berlin, and Joseph Beuys' collaborations with Nicolas
Garcia Uriburu. The result is a narrative of art from 1900 to the
present which, from a global perspective, selectively takes up and
explores historical, international, and transregional connections
between artists and cultural contexts.
The paintings of Katharina Grosse can appear anywhere. Her
large-scale works are multi-dimensional pictorial worlds in which
walls, ceilings, objects, and even entire buildings and landscapes,
are coated with splendid color. For the exhibition It Wasn't Us,
the artist has transformed the Historic Hall of Hamburger Bahnhof -
Museum fur Gegenwart - Berlin, as well as the outdoor space behind
the building, into an expansive painting which radically
destabilizes the existing order of the museum architecture. The
painting's support consists of the floor of the hall and a group of
polystyrene forms designed specifically for the exhibition, which
Grosse transposed into their final size in several working stages
and through incremental changes of scale. The painting stretches
beyond the building's confines and into public space, onto the vast
grounds behind the museum, and across the facade of the
Rieckhallen. It Wasn't Us does not connect interior and exterior,
museum and environment, or culture and nature. Rather, it
renegotiates our viewing habits and our forms of thought and
perception. Katharina Grosse (*1961, Freiburg im Breisgau), one of
the most profiled female painters on the international contemporary
art scene, studied at the Kunstakademie Munster, as well as at the
Dusseldorf Academy, where she was also a professor from 2010 to
2018. Her works have been seen in renowned museums, including the
Museum of Fine Arts in Boston (2019), the National Gallery in
Prague (2018), the chi K11 art museum in Shanghai (2018), and MoMA
PS1 in New York (2016), and at several biennials and triennials,
including Aarhus (2017), Venice (2015), and Curitiba (2013).
EXHIBITION: Hamburger Bahnhof -Museum fur Gegenwart - Berlin, June
14, 2020-January 01, 2021
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