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Titre:
Hannah Höch: Assembled worlds

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$54.95
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Résumé:
Hannah Höch (1889–1978) moved between differing worlds: as an editorial assistant with a major Berlin-based magazine publisher, and as the only woman who could hold her own in the German capital’s vibrant Dada scene of the 1920s. Cutting and montage also shaped film, still a new medium in the 1920s, which strongly influenced Höch’s art: she understood her assembled pictures as static films. This richly illustrated and expertly annotated book explores comprehensively for the first time Höch’s life-long fascination with film and the visual culture of the modern industrial age. Covering her entire career, It demonstrates how montage evolved in a field of tension between artistic experimentation, commercial exploitation, and political appropriation. A text on photomontage by Höch, written in 1948, and a text-collage on the history of montage, in which major protagonists of Modernism and Avant-garde have their say, round out this volume.

Titre:
Andreas Gursky

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$66.00
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Résumé:
Famed worldwide for his epically-proportioned photographs, Andreas Gursky is one of very few contemporary artists able to represent cultures of excessive information--which he does through images of supermarket wares, crowds, trash, architecture and nature. The extreme detail of Gursky's final image--achieved by digital restructuring--produces a vertiginous effect on the viewer, as it oscillates between total representation and total abstraction. It could be said that Gursky updates the eighteenth-century sublime for our times. This publication surveys the artist's most recent creations, on display at the renowned Kunstmuseum Basel throughout the winter of 2007/2008. Two new groups of works in particular, one on Formula One races and the other on the famous Arirang Festival (a closely-choreographed mass spectacle in North Korea's capital of Pyongyang), are gathered here.

Titre:
Amy Sillman: Oh, clock!

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Prix:
$68.00
(disponible en magasin)

Résumé:
In her painting, American artist Amy Sillman (born 1955) expands the standards of abstraction using material and conceptual interventions in the painting process. She destabilizes purported dichotomies and hierarchizations between figuration and abstraction, intimacy and clumsiness, ability and self-negation, process and completion. Now the serial drawings and paintings are multicolored, now monochrome, now they show complex forms, now figures or body parts. And they are always filled with delight in the process. The publication "Amy Sillman: Oh, Clock!" highlights her critical exploration of the history of painting and conveys her complex and sophisticated painterly practice on canvas and beyond.