The work of the sculptor Rachel Harrison is both the zeitgeist and the least digestible in contemporary art. It may also be the most important, owing to an originality that breaks a prevalent spell in an art world of recycled genres, styles, and ideas."--Peter Schjeldahl, The New Yorker In her sculptures, room-sized installations, drawings, photographs, and artist's books, Rachel Harrison (b. 1966) delves into themes of celebrity culture, pop psychology, history, and politics. This publication, created in close collaboration with the artist, explores twenty-five years of her practice and is the first comprehensive monograph on Harrison in nearly a decade. Its centerpiece is an in-depth plate section, which doubles as a chronology of Harrison's major works, series, and exhibitions. Objects are illustrated with multiple views and details, and accompanied by short texts. This thorough approach elucidates Harrison's complicated, eclectic oeuvre--in which she integrates found materials with handmade sculptural elements, upends traditions of museum display, and injects quotidian objects with a sense of strangeness. Six accompanying essays cover Harrison's earliest works to her most recent output. The book also includes a handful of photo-collages that the artist created specifically for this project. Published here for the first time, these pieces superimpose found images with reproductions of Harrison's own past work.
1910 - 2003 ; Fotografin - Budapest, Berlin, Amsterdam ; [anlässlich der Ausstellung Eva Besnyö, 1910 - 2003, Fotografin, Budapest - Berlin - Amsterdam, Das Verborgene Museum zu Gast in der Berlinischen Galerie - Landesmuseum für Moderne Kunst, Fotografie und Architektur, 28. Oktober 2011 - 27. Februar 2012]
1910 - 2003 ; Fotografin - Budapest, Berlin, Amsterdam ; [anlässlich der Ausstellung Eva Besnyö, 1910 - 2003, Fotografin, Budapest - Berlin - Amsterdam, Das Verborgene Museum zu Gast in der Berlinischen Galerie - Landesmuseum für Moderne Kunst, Fotografie und Architektur, 28. Oktober 2011 - 27. Februar 2012]
Eva Besnyö was not only an exceptionally gifted photographer but was also politically active during her lifetime: she acquired her photographic skills in the studio of József Pécsi in Budapest, became aware of the aesthetics of modern photography in the early 1930s in Berlin and became a respected master photographer in Amsterdam. Eva Besnyö's life and work were not only influenced by Modernism the arts but also by the dramatic political movements and events of 20th century Europe such as Fascism, National Socialism, immigration and persecution. By the time the Hungarian-Jewish photographer arrived Berlin in 1930, she had made the two most momentous decisions of life: to make photography her profession and to leave Fascist Hungary forever. Modern art was a passion for her. She produced true masterpieces with her Rolleiflex during her expeditions around Berlin. When Besnyö immigrated to Amsterdam in 1932, she was one of the outstanding representatives of "New Photography" together with László Moholy-Nagy and Erwin Blumenfeld: her portraits, architectural views and landscapes have retained their intensity to this day. She worked as a photographer until the 1980s, and among her other roles as a chronicler of the "Dolle Mina" feminist movement. In the 1990s she won prestigious awards Germany and The Netherlands for her outstanding body of work."--Publisher's website.
Engagée dans la politique de son époque, Eva Besnyö (1910-2003) est de ces femmes qui trouvèrent dans la photographie non seulement un métier mais une forme d'émancipation, et de ces artistes d'avant-garde qui choisirent l'Europe comme terrain de jeu et de travail. Si elle acquiert son savoir photographique à Budapest dans l'atelier de Jozsef Pécsi, c'est le Berlin du début des années 1930, véritable creuset d'expérimentations, qui la sensibilise à l'esthétique de la photographie moderne et lui permet de développer son écriture personnelle. A Amsterdam, enfin, où elle est pleinement reconnue pour la maîtrise de son art, elle rend compte des réalisations architecturales de la Nouvelle Construction avant de témoigner des actions du mouvement féministe des Dolle Mina. Avec près de deux cent soixante-dix illustrations, cet ouvrage présente les multiples facettes de l'oeuvre d'Eva Besne, entre Nouvelle Vision, Nouvelle Objectivité et documentarisme social, à la croisée de la poésie et de l'activisme politique.
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