Lempert first studied as a biologist before turning to photography in the early 1990s. Accordingly, his pictures are marked with scientific aspects, not only referring to his motives but more to the whole process of photography.
Editoriale a cura di Maurizio Ghelardi e Daniela Sacco. Maurizio Ghelardi, Edgar Wind, Percy Schramm e il Warburg-Kreis. Sui concetti di Nachleben, renovatio, correctio. Ianick Takaes, The Demented, the Demonic, and the Drunkard. Edgar Wind’s Anarchic Art Theory. Adrian Rifkin, Mnemosyne, Itself. Elizabeth Sears, Warburg and Steinmann as Forschertypen. Lucrezia Not, La complessa vicenda editoriale di Saturno e la melanconia. Quattro lettere inedite del carteggio Einaudi-Warburg Institute. Lucas Burkart, “Le fantasticherie di alcuni confratelli amanti dell’arte...”. Sulla situazione della Biblioteca Warburg per la Scienza della Cultura tra il 1929 e il 1933, traduzione di Costanza Giannaccini. Roberto Ohrt e Axel Heil, Sul Nachleben di Mnemosyne.Bilderatlas Mnemosyne-The Original. Eine Konflikt Geschichte. Interview with Roberto Ohrt, on the exhibition in Berlin. Interview by Bianca Maria Fasiolo Neville Rowley, Atlas redux.
Edward Kienholz's life-size tableau "Five Car Stud" (1969-72) depicts four automobiles and a pickup truck, arranged on a dirt floor in a dark room with their headlights illuminating a shocking scene: a group of white men exacting their gruesome "punishment" on an African American man. "Five Car Stud" is a harsh reminder of a shameful part of our history whose traces still linger. It was seen only in Germany in 1972 and has since remained in storage in Japan for almost 40 years. On the occasion of its first public showing in the United States, this volume examines an extraordinarily powerful artistic statement that has lost none of its potency. The catalogue presents essays by Roberto Ohrt and Thomas McEvilley, as well as an interview with American artist Paul McCarthy.
The first monograph on the compelling young Brazilian painter Christian Rosa features a selection of his most recent work in graphite, oil and spray paint. Born in Rio in 1982 and now living and working in Los Angeles, Rosa studied at the Academy of F ine Arts in Vienna with Daniel Richter. His current pieces on unprimed, rough, beige canvas are minimal with colorful loops, craquelures, erasures, and carelessly painted bubbles and squares. His extremely reduced repertoire is reminiscent of Cy Twombly, one of the most enduring American abstract painters. Rosa also calls on the Empire of Signs, initially determined by Roland Barthes for Twombly. In addition to Oscar Murillo and David Ostrowsky, Christian Rosa is considered a rising star in contemporary art today. An exhibition catalog out of the CFA Berlin with essay by German writer and curator Roberto Ohrt.
Limited to 1,000 copies, each numbered and signed by the artist, each signed by the artist. Often wryly funny and just as smart, Albert Oehlen's paintings play the medium for all it's worth. After an early realization that the so-called death of painting actually freed his enthusiasm as to the number of aspects through which one could expand painting, Oehlen, got to work on a wide variety of figurative and non-objective offerings, in what he has called his post-non-representational art. In his most recent work group Oehlen expands painting through the use of blatant advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humor, his work seems to be winking at us as it dares us to change the way we look at an image. Klaus Kertess throws a light on the years from 1988 onwards, when Oehlen saw himself self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium.
Sozial Romantismus captures Veronique Bourgoin's bizarre world of the unconscious. This young and accomplished Marseilles-born photographer and artist is the founder of the photographic school reflexe. This book takes Bourgoin's protagonists on a sonambulistic journey, in the course of which they have to master several tests and survive small disasters. By interfering directly and manually in the photographic reproduction process, the artist is able to reach beyond perspective and scale and remove herself from time. Her very insistence upon the poetic power of photography through experimental presentations reminds the viewer of the classical avant-garde movement of the 1920s.
Over a thirty-year career, Austrian-American photographer Elfie Semotan has assembled a kaleidoscopic collection of portraits and studio stills from her encounters with other artists, from Georg Baselitz to the Chapman Brothers, Marina Abramovic to Louise Bourgeois. The fact that Semotan's "models"--many of whom have since become international stars--are in fact friends, acquaintances, or even significant others has allowed her to capture truly stunning photographs of prominent figures in the art world, photos whose intimacy and comfort reflect both her own mood and those of her subjects. Semotan is a celebrated artist in both Europe and the United States working across a wide range of photographic styles. Many of her images are famous on their own without the public knowing who took them--this new book offers art fans a chance to put together the pieces, to see these portraits as a single, compelling body of work.
Over the past decade, German artist Michael Riedel has incorporated a wide range of media into his practice, including large-scale works on canvas, fabric works, film and video, audio recordings, installations, and events. A central focus of his work is the publishing and production of artist’s books, catalogues, brochures, posters, and cards. In 2000, Riedel and Dennis Loesch launched a collaborative project in an abandoned building in Frankfurt. Using the building’s address—Oskar-von-Miller Strasse 16—as the name for their new space, they created an experimental laboratory where they restaged cultural events held at other locations throughout the city, effectively duplicating them in space and time. Occasionally, these re-presented events—which included book readings, film screenings, art exhibitions, and music concerts—were hosted on the same night as the actual event elsewhere in the city, but mostly, they were presented days or weeks after the original activity took place. According to Riedel, “We presented one concept over and over again. To create a distance to some original that had been done at another place.” With the call of “record, label, playback,” a group of young artists reiterated the language of a city’s cultural offerings, often without a full understanding of what they were reciting, but always with an acute aesthetic interest in the faults of transmission and transference. Oskar is the account of Oskar-von-Miller Strasse 16. The art space became renowned as a gigantic “replication device,” and this book itself is a product of such practices. Scores of audio and visual materials, partly in the form of transcripts from two Conferences of Anecdotes, chronicle its years of activities. Produced by the artist, this book was published to coincide with Riedel’s 2014 exhibition, Laws of Form, at David Zwirner in London.
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