#Prestel Publishing

[germanpostwarmodern]

The built manifestations of Brutalism, despite their omnipresence on social media, remain controversial: especially in Europe they are loved by some and hated by many. In other parts of the world opinions aren’t as polarized and Brutalism simply a part of the built environment, e.g. in Japan. Okinawa-based photographer Paul Tulett has been exploring the Japanese brutalist heritage for years and in his new book „Brutalist Japan“, recently published by Prestel, points to the particular appeal concrete had in postwar Japan: it offered seismic safety, was resistant to termites and easy to pour in form and via the shuttering boards also left room for the skilled Japanese wood crafts. At the same time the Japanese tradition for leaving natural materials rough and raw played in the hands of „béton brut“ that, as Tulett explains, became „béton nécessaire“.

The former’s gradual aging and the acceptance thereof agains roots in Japanese tradition, i.e. the concepts of „wabi sabi“ and „mono no aware“ which embrace the beauty of imperfection and describe the ambivalent awareness of the fleeting nature of beauty. Against this background and Tulett’s introduction to Japanese philosophies it becomes easier to understand why Brutalism is a lot less controversial in Japan than it is in other parts of the world and never disappeared. Accordingly the buildings gathered in „Brutalist Japan“ date from the 1950s to the present day and offer a comprehensive panorama of Brutalism in Japan: in brilliant photographs Tulett shows classics like Kenzo Tange’s Hiroshima Peace Memorial Museum (1955) and Setagawa Ward Office (1959) or Le Corbusier’s National Museum of Western Art (1959) but also a plethora of little-known buildings. And they are compelling: the fortress-like Tanimura Art Museum (1983) by Togo Murano, the Keihan Uji Station (1995) by Hiroyuki Wakabayashi or the Okinawa Prefectural and Art Museum (2007) by Ishimoto and Niki Associates demonstrate the masterful use of raw concrete while also dealing with Japanese history and traditions.

This beautifully crafted mix of buildings makes the book a great read and an eye-opening survey of Japanese Brutalism. Highly recommended!

[mybeingthere]

A beautiful photograph by a dear friend Sasa Gyoker from her numerous award winning works.

"Season of Silence"

Sasa tells: "In this series I have gathered works I took in winter. I live in Canada, and this season here can be a fertile terrain for meditative albeit fiercely cold walks. I find winter accentuates the graphic qualities of nature, while offering an invitation into a contemplative state enriched by silence."

"Sasa was born and lived in Budapest, Hungary, before moving to Canada. After completing her M.A. degree in Art History and working as a Curatorial Assistant at the National Gallery of Canada, she returned to study—this time graphic design, which has been her vocation ever since. In tandem with graphic design, her interest in and passion for photography has been growing stronger through the years. Her album, Of Trees and Birds and Snow and Silence, was published in 2015. Since then, she has won several international photography awards, and has participated in both solo and juried group exhibitions in Canada, the United States, Europe, and South Korea. Her works have been published and used for cover pages in books, albums, blogs, posters, literary journals and photo magazines, including her photograph in David Gibson: 100 Great Street Photographs (Munich, London, New York: Prestel, 2017), D. Tyler Bennett: The Coffee House Anthology—A Meeting Place for the Arts (Charnwood Arts, UK, 2016) as well as in LensCulture and Lomography Magazine, among others. Her photographs have also been shown in exhibitions worldwide, such as in the international juried exhibition at the Kiscelli Museum in Budapest, Hungary, a venue of the 2019 Budapest Photo Festival, and the exhibition of over 30 of her works at the ArtReach Gallery in Portland, Oregon, in 2021."

https://monovisionsawards.com/.../monovisions.../show/2206

[booksinantwerp]

Top half of the 'Virgil Abloh: Figures of Speech Special Edition' cover, a book published by Delmonico-Prestel in 2019 for the Figures of Speech exhibition in MCA (Chicago, US) from June 10 until September 22 2019. follow on Instagram for more

[fashionbooksmilano]

Wild Flowers of North America

Botanical Ilustrations by Mary Vaux Walcott

Pamela Henson

Prestel Publishing, New York/London 2022, 336 pages, Hardcover, 24 x 32 cm, 300 color illustrations,  Isbn  9783791388892

Published in association with the Smithsonian Institution

euro 62,00

email if you want to buy booksinprogressmilano@yahoo.it

Now available in a new, large single volume with an appendix also listing the modern plant names, this classic collection by “the Audubon of botany” features more than 250 exquisite reproductions of Walcott’s celebrated watercolors of wildflower life in the United States of America and Canada. What does it take to paint a wildflower that blooms for a single day in a deep forest? For Mary Vaux Walcott, it involved spending up to seventeen hours a day out of doors with her paintbox to capture the shape, movement, and colors of delicate petals and leaves. Originally published in 1925 to enormous acclaim in five, oversized volumes, Walcott’s sketches introduced the diversity and beauty of North American plants to the general public. A selection of some of the most stunning illustrations are now available in a single volume, these illustrations have lost none of their beauty or realism. Walcott’s technique involved precise attention to detail, color, light, and perspective. Her art can also be appreciated as the work of a woman scientist battling the prejudices against her sex of the day. She was an intrepid explorer, skilled geologist, and generous benefactor to the Smithsonian Institution at a time when women’s accomplishments were often overlooked or misattributed. 21/04/23

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[archivist-dragonfly]

Book 379

Hokusai: Prints and Drawings

Matthi Forrer

Prestel-Verlag 1991

Published on the occasion of an exhibition at the Royal Academy of Arts, London, this book of prints and drawings by Katsushika Hokusai (1760-1849) is a solid overview of the work of the great master. Although, considering that Hokusai produced some 30,000 pieces of art during his extraordinarily long career, it seems clear to me that one book won’t really do. At least, not for me. But if you can only have one book about Hokusai, you could do a lot worse than this one. With 154 lovingly reproduced illustrations sourced from collections around the world, 126 of which are in color, this is a wonderful introduction to the variety, innovation, and sheer beauty of Hokusai’s work.

[photobookjunkies]

📚 The Hyena & Other Men by Pieter Hugo (2nd edition published by Prestel, 2008)

www.photobookjunkies.com

[theoriesanddocuments]

This week we examined several examples of artists using free-flowing paint in their work. I was inspired by Sana’s use of a thin green splash of wet pigment in her multilayered abstraction. For my purposes, I loosely defined “free-flowing” as meaning paint that was less under the control of the artist’s hand and more at the mercy of gravity, puddling, velocity of application, or the absorbency of the support. Since such a broad definition could have generated an hours-long slideshow, I elected to focus on a handful of interesting examples that I thought might be of particular interest to members of our group.

The appreciation of paint flow is hardly a modernist preoccupation, as shown in these earlier examples. Tōrei Enji’s wet calligraphic marks spread into the fibers of his paper, and he doesn’t feel the need to assert too much control over the process once he’s lifted his brush from the surface. French author Victor Hugo engaged in a semi-private drawing practice, sometimes producing completely non-representational works such as those seen above.

Tōrei Enji (Japanese 1721-1792). Enso (Zen Circle), date unknown (Edo Period). Ink on paper, hanging scroll. 31.5 x 55.5 cm. The Manyo’an Collection of Japanese Art, Gitter-Yelen Foundation, New Orleans, Louisiana. Source.

Calligraphy of “Mu,” date unknown. Source.

Victor Hugo (French 1802-1885). Taches (Stains) ca. 1853-55. Brown and blue wash on paper, 15 x 9 1/2 inches. 

Tache (Stain) ca 1850-70. Brown ink on paper, 3 x 6 3/4 inches. Both Hugo works appear in Stones to Stains: The Drawings of Victor Hugo by Allegra Pesenti and Cynthia Burlingham, Prestel Publishing, 2018.

[eugenelacroix]

Reposted from @cathleennaundorf Last print. Size 20 x 30 cm . Silver gelatin print. Signed,stamped. Edition of 2 !! Photograph “La Passion I ” Order: Dm me or art@cathleennaundorf.com Published in my book” The Polaroids of Cathleen Naundorf” Prestel 2012 #cathleennaundorf #artwork #fineartphotography #artisticphotigraphy #artistoftheday #fotografiska #palmbesch #miamiart #parisartist #artcollector #blackandwhitephotography #artbasel #parisphoto #fashionphotographer #armoryshow #classicphotography #irvingpenn #horstphotst #timealker #photocollection @ilfordphoto#eugenelacroix1 @eugenelacroix1 #photography https://www.instagram.com/p/Comg22KIbO2/?igshid=NGJjMDIxMWI=

[jerfdewa]

Mid-century science fiction gave post war america a future to look forward too. The hope was that advancements in nucular energy and space travel would unite humanity. In retrospect, these ideas sound silly; there was no way space travel would ever improve the day to day lifes of civilians. However, this childlike outlook is what makes the genre so charming. As Sean Topham argues: The space age allowed adults to rediscover everyday miracles kinda like a child does [Topham, S. (2008). A question of living tommarrow. In Wheres my Space Age? (pp. 65–66). essay, Prestel.]

Not all science fiction was so optimistic however; many writers believed contemporary advancements in nuclear energy threatened international security. Zines like “astounding sci-fi” were inidated with post apocalyptic fiction and tales of technological uprisings.

Science fiction helped laymen navigate cold war politics in ways actual (political) scienests could not. Said “experts” had no real world reference to which they could compare the contempary nuclear-political landscape. Therefor, in David Seed’s opinion, science fiction writers had an equal amount of athourity. [Seed, D. (1999). Chapter 1. In American Science Fiction and the Cold War (pp. 5–5). essay, Fitzroy Dearborn.]

Ive been a retro futuristic fan since I was introduced to the twilight zone in elementary school. Some years later I discovered the “retro space” line of lego sets. Although these kits released between 1979-1998, the designers were heavily inspired by science fiction of old. The sets were characterized by funky looking aircraft, vauge tech, and a generally cooperative atmosphere. My own lego builds are inspired by the line but also retro futurism in general. As an aside: i love the lego system. Its my main art medium. Ive included some pics down below😋

Throught my project i consulted 3 books, 1 movie, 1 tv show, and 1 zine. The names are as follows: 

Books: 

“American Science fiction: 1926-1975”: former science fiction writer ______ records the history of retro futurism and what inspired the movement. 

“Wheres my Space Age?” A history of the rise and fall of retro-futuristic design styles in the real world

“Science fiction Literature and Film during the Cold war”: ___ explains the historical context in which retro fururism emeraged. 

Movies:

FORBIDDEN PLANET: This 1952 adventure film took inspiration from contemporary science fiction litiuture like “ASTOUNDING SCIENCE FICTION” and “GALAXY”. The film follows a group of stranded astronauts as they navigate a mysterious planet. Good movie.

Zines:

ASTOUNDING(/ANOLOG) SCIENCE FICTION AND FACT  :Established in 1930, This monthly zine routinely published innovative Sci-Fi stories along side sensationalized scientific news. The publication was led by renowned writer John Campbell Jr. who, in 1950, began researching psi phenomena (scientific study of physic powers). Campbell’s work inspired fellow artist to write about contemporary psudeo science.

Shows: 

THE TWILIGHT ZONE:The Twilight Zone, narrated by Rob Serling, was a revolutionary anthology series that used science fiction to tackled issues of race, religion, oppresion and more. My grandparents introduced me to this show, and by extension retro futurism. To this day the Twilight Zone remains my favorite telivision series. I highly recommend the episodes: “The Monsters are due on Maple Street” and “I Shot an Arrow into the Air”. (images included in next post->)

[germanpostwarmodern]

After 95(!) years and a solo exhibition at Alfred Flechtheim’s gallery in Düsseldorf Maurice de Vlaminck (1876-1958) finally receives a retrospective in Germany: with „Maurice de Vlaminck. Rebell der Moderne“ the Museum Barberini until January 12, 2025 presents a comprehensive overview of the painter’s oeuvre that comprises a total of 76 paintings.

The exhibition is accompanied by the present handsome catalogue published by Prestel that is warmly recommended to all those who can’t make it to Potsdam in time. Of course it contains all of the paintings included in the exhibition but also provides substantial information about de Vlaminck: in five essays experts and curators discuss the painter’s relationship with the Fauves as well as his Fauvist paintings, elucidate his reception of Vincent van Gogh’s art, his connection with Cézanne and Picasso and also shed light on Vlaminck’s use of pure colors straight from the tube.

What emerges from these essays is an artist as colorful as his paintings: a former bicycle racer, violinist, boxer and anarchist Vlaminck prided himself on never having attended an art academy and cultivated his image as a real „fauve“, a wild beast. The latter term dates back to the 1905 Salon d’Automne where Vlamincks paintings were exhibited alongside Henri Matisse’s, André Derain’s and Kees van Dongen’s: their powerful colors and focus on expression and emotion provoked the critic Louis Vauxcelles to call them „fauves“ and eventually made them examples also for the German expressionists. Vlaminck came to the use of pure color together with André Derain whom he met by chance in 1900 and with whom he explored the landscapes along the river Seine. Of course, and despite his own assertions, he was were well aware of the Impressionists/Neo-impressionists but transferred their motifs into the 20th century. Around 1908 Vlaminck gradually put behind Fauvism and began experimenting with cubist forms in a number of landscape paintings, portraits and seascapes, although in retrospect he dismissed Cubism. In parallel Cézanne became an important reference, especially in still lifes and landscapes. The latter also dominates Vlaminck’s late work, this time in the form of snowy forests and villages. To this day this late work has received only little attention, probably due to Vlaminck’s outspoken support of the Nazi art doctrines. The Potsdam exhibition and catalogue thus offer the rare chance to forge an opinion about these disputed works.

In view of the few German language publications on Vlaminck and the insightful essays as well as the countless illustrations the present catalogue is a highly recommended read and a great substitute for an exhibition visit!

[jarry]

Walter Moser: VALIE EXPORT. Prestel Publishing (Paperback)

[pdxhi69]

Check out this listing I just added to my Poshmark closet: Talking Fashion Book.

[roesolo]

Olaf Hajek gives veggies their due: Veggie Power!

Olaf Hajek gives veggies their due: Veggie Power! @presteljunior @mediamastersbks

Veggie Power, by Annette Roeder/Illustrated by Olaf Hajek, (Apr. 2021, Prestel Junior), $19.95, ISBN: 9783791374789 Ages 8-12 After profiling nature’s healing flowers in last year’s Flower Power, artist Olaf Hajek turns his illustrative magic to elevating vegetables to high art in Veggie Power. Seventeen vegetables receive the portrait treatment here, with Annette Roeder’s informative discussions…

[skeletonpete]

Imaginary Metropolis: Prestel Publishing’s New York Night and Day

Imaginary Metropolis: Prestel Publishing’s New York Night and Day

Eye catching cover of Prestel Publishing’s New York Day and Night New York Day and Night

Author: Aurélie Pollet Illustrator: Vincent Bergier Publisher: Prestel

ISBN: 978-3-7913-7378-2 Recommended Age: 3+ Release Date: March 4, 2019 (UK) March 19, 2019 (US)

In 1971 Motown greats The Temptations sang “it’s just my imagination, running away with me.” That’s something that author Aurélie Polletand���

[yonialter]

London Cityscape Timeline spotted at the GA Gallery Bookshop Tokyo. Published by @prestelusa