#Art exhibition catalogue

[fashionbooksmilano]

Liliane Tomasko Beds

Edward Lucie-Smith

Galeria Llucia Homs, Barcelona 2002, 36 pag., Catalan and English

with a postcard signed by the artist

euro 45,00

email if you want to buy booksinprogressmilano@yahoo.it

rare catalogue enrichi d'une carte postale signée et dédicacée

04/06/24

[alessandro55]

Rachid Koraïchi 7 Variations autour de l'indigo

René Guitton, Danièle Giraudy

Photographies Jean Bernard, Rachid Koraïchi, Jean Pierre Linuésa

Éditions Alors Du Temple/Musées de Marseille, 2003, 48 pages, 21x27,5cm, ISBN 978291793248

euro 40,00

email if you want to buy : booksinprogressmilano@yahoo.it

Exposition du 28 janvier au mars 2003 Galeries de la Vieille Charité, Musées de Marseille

Associant les techniques ancestrales des tampons de bois en usage à Alep (Syrie) et la couleur traditionnelle des indigotiers marseillais, R. Koraïchi a créé de nouvelles étoffes : aujourd'hui exposées sous forme de bannières ou de carrés, elles se déclinent autour du chiffre 7 et de sa mystique.   L'artiste méditait. Il était venu chercher l'inspiration dans cette cité vieille de plusieurs millénaires. Alep au nord de la Syrie. Comme les couleurs voyagent, il voulait retrouver des traces de bleu sur cette route de l'Inde d'où venait l'indigo. Car en Alep, au fil des siècles, cette teinture avait été l'objet de nombreuses études dont certains secrets furent peu à peu révélés: indigo mêlé d'écorce de grenade avec addition d'eau de dattes ou de suc de raisin noir broyé ou de figues piétinées. Ces macérations étranges conféraient à l'indigo d'Alep une haute réputation dans toute la Méditerranée, Rachid Koraïchi souhaitait aussi acquérir de la soie, chiner de ces tampons anciens que les imprimeurs de tissu utilisaient encore au début du XXe siècle. Il les mêlerait aux siens qu'il allait créer ici, inspiré, comme nulle part ailleurs, par les étoffes imprimées. L'ambassade de France, à Damas, et les responsables des services culturels, sensibles au projet à ce point prometteur lui accordèrent une aide chaleureuse et il fut hébergé en une demeure, vestige du Mandat français, toute proche de la citadelle. L'artiste allait y travailler en paix et remonter la mémoire de l'indigo et des routes de la soie.

23/09/23

[scienceviz]

"Kαιρός - The Irretrievable Moment" was chosen as a finalist at 2023 London International Creative Competition (LICC Award)

Delighted that my work “Kαιρός – The Irretrievable Moment” was chosen as one of 20 finalists at 2023 London International Creative Competition (LICC Award) in the category Professional / CREATE (Art) CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100 CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100 CREATOR: gd-jpeg v1.0 (using IJG JPEG v80), quality = 100 CREATOR: gd-jpeg v1.0…

[garadinervi]

Richard McGuire: 'Then and There, Here and Now', Cartoonmuseum Basel – Zentrum für narrative Kunst, Christoph Merian Verlag, Basel, 2024 [Art: © Richard McGuire]

Conception: Richard McGuire, Vincent Tuset-Anrès (Fotokino) Texts (English and German): Richard McGuire, Vincent Tuset-Anrès, Anette Gehrig Graphic design, Lithography: Vincent Tuset-Anrès Printing: Cci, Marseille

Exhibition: curated by Anette Gehrig, Cartoonmuseum Basel – Zentrum für narrative Kunst, Basel, June 6 – November 3, 2024

[germanpostwarmodern]

From its foundation in 1919 onwards the Bauhaus was a preferred and frequent target for nationalist and National Socialists due to its international orientation, alleged communist activities and overall avant-garde position. At the same time its students were regarded as immune to totalitarianism and National Socialism in particular. Five years after the Bauhaus centenary the Klassik Stiftung Weimar reviews the relationship between Bauhaus and the Nazi regime and does away with a number of long-held beliefs. Until 15 September the tripartite exhibition at Museum Neues Weimar, Bauhaus Museum and Schiller-Museum for the first time sheds light on an uncomfortable part of the school’s history.

Alongside the exhibition Hirmer published the present and very insightful catalogue, edited by Anke Blümm, Elizabeth Otto and Patrick Rössler, that discusses the manifold hostilities brought forward by conservatives and nationalists but also examines the dealings of former Bauhaus students and teachers with the Nazi regime. The first third of the catalogue is thus devoted to a chronological history of the Bauhaus’ and its opposition and how the school’s situation gradually worsened. A harbinger of what was looming was the Weimar iconoclasm of 1930: the newly elected government of the federal state of Thuringia included the NSDAP and Wilhelm Fricke became minister of the interior and public education. In this capacity he released a decree against progressive art and culture with which he e.g. forced the Weimar art collections to remove their strategically built collection of Bauhaus artworks.

In the following and larger part the catalogue collects a total of 58 biographies of former students and teachers and how they fared under the totalitarian regime: included are of course the well-known stories of figureheads like Gropius, Albers and Mies van der Rohe but also those of e.g. Fritz Ertl who drew the plans for the Auschwitz extermination camp and Friedl Dicker who was killed in the very same camp. At the same time others like photographer Otto Umbehr (Umbo) fared well as regime-linked contractors.

The collected biographies again demonstrate that history isn’t a black or white business but spiked with shades of grey as proves the fact that a Bauhaus education can’t immunize individuals from adapting to an inhuman regime. A pivotal book and exhibition!

[fashionsfromhistory]

If you're in the Chicago area, highly recommend seeing Gio Swaby: Fresh Up at the Art Institute. Some truly beautiful textile work.

My work operates in the context of understanding love as liberation—a healing and restorative force. These pieces celebrate personal style, vulnerability, strength, beauty, individuality, and imperfections.

—Gio Swaby

[science70]

New Spaces: The Holographer's Vision catalogue, curated by Karen Spitulnik Peiffer (Franklin Institute Press, 1979).

Cover art: Rudie Berkhout

[bookloversofbath]

Africa: The Art of a Continent Published on the Occasion of the Exhibition Held at Royal Academy of Arts, London, 4th October 1995 – 21st January 1996 :: Tom Phillips

[fashionbooksmilano]

Rebecca Horn

The Museum of Contemporary Art, Los Angeles

Fabbri Editori, Milano 1990, 112 pagine, 23x28cm,

euro 30,00

email if you want to buy booksinprogressmilano@yahoo.it

mostra Los Angeles 30 settembre 1990 - 6 gennaio 1991

Eighteen large-scale mechanized sculptures by this German artist and filmmaker created in relationship to the themes and content of her new feature-length film Buster's Bedroom

Rebecca Horn (b. 1944, Germany – 2024)

Rebecca Horn is a visual artist, who came to international prominence in the 1980s and is best known for her installation art, film directing, and body modifications projects. Horn is considered to be one of the most influential artists of the Kinetic Art movement.

From an early age Horn developed a virtual obsession with drawing, using it as a medium of communication that she viewed as much less limiting than the spoken word. Horn’s work can be found today in many museum collections around the globe, including The Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles and the Tate Gallery in London.

19/10/24

[alessandro55]

Richard Lindner

Großstadtzirkus | Big-City Circus | Le cirque de la grande ville

Editor Thomas Levy, Design by Claas Möller, claasbooks, Hamburg

Kerber Verlag, 120 pages, 22,5x22,5cm,68 colored and 14 b/w illustrations,Hardcover, German, English, French, ISBN 978-3-7356-0081-3

euro 30,00

email if you want to buy booksinprogressmilano@yahoo.it

The painter Richard Lindner introduces his shadow figures of big-city life as if under a big top: thieves, prostitutes or gamblers as protagonists on the margins of society. With his unmistakeable imagery, Lindner has become one of the most important pioneers of Pop Art. The fifty or so oil paintings, watercolours and drawings in this catalogue provide an insight into his different creative phases from the 1950s to the 1970s. In cooperation with the estate of the artist, the catalogue gathers together numerous preliminary studies of Lindner’s paintings that have never before been shown in public and which demonstrate the  erstwhile illustrator’s meticulous conquest of the image’s surface.

Exhibition: „Richard Lindner – Großstadtzirkus | Big-City Circus | Le cirque de la grande ville“, 06.02.2015 – 19.04.2015, Stiftung Ahlers Pro Arte / Kestner Pro Arte, Hannover

30/01/24

[scienceviz]

"Ten photographs from three series" reached IPA 2023 official selection

My recent publication “Ten photographs from three series” reached IPA 2023 official selection at International Photography Awards. Visit the IPA winners website here. This book was also published at Social Sciences Open Access Repository (SSOAR) by GESIS – Leibniz-Institut für Sozialwissenschaften e.V., Mannheim and at mediaTUM – the media and publications repository of the Technical University…

[garadinervi]

Max Bill, Marlborough, London / Zürich, 1974 [Happenstance Books. © Art: Max Bill]

Exhibitions: Marlborough Fine Art, London, February 14 – March 15, 1974; Marlborough Galerie, Zürich, June 7 – July 6, 1974

[germanpostwarmodern]

Shortly after the Second World War had ended the German Ruhr region became a hotbed of modern art: spearheaded by the group „junger westen“ abstract art was the universal language of artists shaking off the doctrinaire art policies of the defeated dictatorship. Among his peers of the „junger westen“ Gustav Deppe (1913-99) stood out as the one oscillating between abstraction and figuration as well as the one who most directly channelled the surrounding industrial landscape. Power lines, shaft towers as well as organic, amorphic forms take turns in Deppe’s extensive oeuvre. But although he limited himself to the depiction of certain distinctive forms present in the Ruhr region, Deppe over time changed his rendition of these objects, very prominently in the series of shaft towers that he translated into almost fully abstract forms. In his late work of the 1980s and 1990s Deppe then turned to collages and further reduced his pictorial language to basic geometric forms as a means to depict the now often defunct industrial scenery around him.

In 2002 the Kunstverein Witten organized the traveling retrospective „Gustav Deppe - Industrie Technik Landschaft“ that was accompanied by the present catalogue. It contains a large number of works from all work phases, beginning in the late 1940s and concluding with the early 1990s. In addition eight brief but informative essays by companions and experts address the gradual changes in Deppe’s art and also shed light on his long-term teaching at Werkkunstschule and Fachhochschule Dortmund.

Although Gustav Deppe to this day is the least prominent of the „junger westen“ members, his oeuvre in its rigorous adherence to the depiction of the Ruhr region’s industrial landscape is a significant contribution to the region’s art history. Well worth discovering!

[exhibit-of-the-century]

John Singer Sargent, Sargent and Fashion Exhibition, Tate Britain, London Part 2

Masterlist

BUY ME A COFFEE

[corys-clutter]

@jascurka in response to your tags, just in case you're still looking for anything like that, a couple of things sprung to mind about artists who use medical imagery in their art:

Jane Dixon's Evidence of Doubt - http://www.janedixon.net/evidence.html

Dixon made up imaginary organic parts and presented them as scientific images

Susan Aldworth's Transience and Passing Thoughts - https://www.google.com/search?q=transience+and+passing+thoughts+susan+aldworth&tbm=isch

Transience was etchings made from a real human brain with Parkinson's

Passing Thoughts was photographic prints from the same brain

Realisation

the collections from these artists were exhibited at the Fitzwilliam in an exhibition called Realisation, there's an interesting essay about it available on Aldworth's website (which appears to be down, so here's a link to an archived version) - https://web.archive.org/web/20230322033646/https://susanaldworth.com/essays-and-radio/realisation/

there's also this interview with Aldworth which is really interesting - https://web.archive.org/web/20230322023431/https://susanaldworth.com/essays-and-radio/transience-and-passing-thoughts/

I feel like the only person not tempted to use ChatGPT like it doesn’t even occur to me as an option

[jpf-sydney]

Takashi Murakami - Unfamiliar People - Swelling of Monsterised Human Ego

Book review:

Spamming kindergarteneqse flowers with happy smiley faces, seemingly choosing colour combinations by how highly the contrast clashes, absurdly sexual male and female characters. Takashi Murakami does it all. Now also branching into NFT art. His exhibition duly projects a cheerfully psychedelic, cute but ferocious vibe.

From September 2023 to February 2024, the Asian Art Museum of San Francisco held an exhibition featuring the recent decade of Murakami's works. A follow-on installation of sorts only recently concluded in July. Produced in conjunction with the exhibition is this catalogue by the same name "Takashi Murakami: Unfamiliar People - Swelling of Monsterised Human Ego".

This large, oversized A4 hardback features a compound cover. The underlay consists of nothing but the exhibition title in exaggerated, cartoon-like balloon letters. Lurid but completely in-character with an on-point palette of bright solid colours on a hot pink background. Overlaid is a full wraparound clear plastic jacket with the anchor feature of saw toothed aliens in suits. Loud, manic and unsubtly subtle. The book does touch on works from earlier than 2013.

Takashi Murakami is also the pioneer of the Superflat art movement. Ironically, the term has been observed as expanding to greater dimensions beyond the initial meaning. The visual style it defines can actually be retroactively ascribed to the style of much of Japan's historic art. There is the flattening of time - in the sense Murakami has been critiqued as taking art styles and subjects from different eras and combining them into a single work. He also flattens his business model; conversion of his art pieces into consumer-friendly merchandise seems to be highly efficient and streamlined.

Shelf: 702.16 MUR Murakami : unfamiliar people, swelling of monsterized human ego. edited by Laura W. Allen.

San Francisco : Asian Art Museum, 2023. ISBN: 9780300273182 (hardcover)

141 pages : chiefly coloUr illustrations ; 32 cm.

Includes bibliographical references.

Table of contents:

Monsters on the mind / Laurra W. Allen.

Hiropon reloaded : Takashi Murakami and the transformation of otaku subculture / Hiroko Ikegami.

Clone X : the key to the future / Masako Shiba.