Jungjin Lee: Desert
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In this series, Lee captures the American southwest and transforms it with liquid light and diluted light-sensitive emulsions to create images that are as uncontrollable and natural as the landscape she depicts. Desert comprises four series of works (each bound as a separate book and presented in a unique slipcase), all of which contain monochromatic images of arid lands.(...)
Jungjin Lee: Desert
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In this series, Lee captures the American southwest and transforms it with liquid light and diluted light-sensitive emulsions to create images that are as uncontrollable and natural as the landscape she depicts. Desert comprises four series of works (each bound as a separate book and presented in a unique slipcase), all of which contain monochromatic images of arid lands. Stratigraphy etched into rock faces, massive stones, cave-like precipices and anthropomorphic fauna showcase an extensive compendium of the desert’s many faces and textures. Each image focuses on the landscape’s formal qualities, eschewing human presence, simultaneously evoking late 19th-century photography, while epitomizing the stark modernity of Lee’s lens. “As a photographer,” writes Lee, “I am primarily concerned with the unconscious, the unknown, and the invisible.”
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This book provides a companion to Aleksandra Mir's latest body of work Space Tapestry: Faraway Missions, exhibited at Tate Liverpool and Modern Art Oxford. Inspired by the Bayeux Tapestry and the anonymous artists who depicted Halley’s Comet in 1066, the Space Tapestry is a large-scale, hand-drawn monochrome wall-hanging that forms an immersive environment. Much like a(...)
We can't stop thinking about the future
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This book provides a companion to Aleksandra Mir's latest body of work Space Tapestry: Faraway Missions, exhibited at Tate Liverpool and Modern Art Oxford. Inspired by the Bayeux Tapestry and the anonymous artists who depicted Halley’s Comet in 1066, the Space Tapestry is a large-scale, hand-drawn monochrome wall-hanging that forms an immersive environment. Much like a graphic novel, Space Tapestry tells an episodic visual story of space travel.
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This revealing book looks at the groundbreaking work of Gordon Matta-Clark (1943–1978), whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York. There he employed the term “anarchitecture,” combining “anarchy” and(...)
novembre 2017
Gordon Matta-Clark: anarchitect
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This revealing book looks at the groundbreaking work of Gordon Matta-Clark (1943–1978), whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York. There he employed the term “anarchitecture,” combining “anarchy” and “architecture,” to describe the site-specific works he initially realized in the South Bronx.
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Charlotte Salomon (1917–1943) is renowned for a single, monumental, modernist artwork, Life? or Theatre? (Leben? oder Theater?), comprising 784 paintings and created between 1941 and 1942. This major art-historical study sheds new light on the remarkable combination of image, text, and music, revealing Salomon’s wealth of references to cinema, opera, Berlin cabaret, and(...)
Charlotte Salomon and the Theatre of Memory
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Charlotte Salomon (1917–1943) is renowned for a single, monumental, modernist artwork, Life? or Theatre? (Leben? oder Theater?), comprising 784 paintings and created between 1941 and 1942. This major art-historical study sheds new light on the remarkable combination of image, text, and music, revealing Salomon’s wealth of references to cinema, opera, Berlin cabaret, and the painter’s self-consciously deployed modernist engagements with artists such as Van Gogh, Munch, and Kollwitz. Additionally, Griselda Pollock draws attention to affinities in Salomon’s work with that of others who shared her experience of statelessness and menaced exile in Nazi-dominated Europe, including Hannah Arendt, Sigmund Freud, and Walter Benjamin.
David Hockney
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"Je suis convaincu qu'aucune forme de création radicalement nouvelle n'apparaîtra dans les espaces traditionnellement consacrés à l'art. Je n'entreprendrai plus rien de ce côté. Elle ne peut apparaître que sur de nouveaux supports : les écrans, les pages des journaux et des magazines. Je pense que nous entrons dans une nouvelle ère. Les nouvelles technologies sont sur le(...)
David Hockney
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"Je suis convaincu qu'aucune forme de création radicalement nouvelle n'apparaîtra dans les espaces traditionnellement consacrés à l'art. Je n'entreprendrai plus rien de ce côté. Elle ne peut apparaître que sur de nouveaux supports : les écrans, les pages des journaux et des magazines. Je pense que nous entrons dans une nouvelle ère. Les nouvelles technologies sont sur le point de produire bien plus que nous le pensons. Plus, bien plus. Et je compte bien contribuer à pousser les choses en ce sens." David Hockney
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Following Greenhouse Studies, Philippe Weisbecker's attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape,(...)
Philippe Weisbecker: Structure series
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Following Greenhouse Studies, Philippe Weisbecker's attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape, they differ greatly in order to ensure the weight distribution necessary to the stability of the edifice. The present portfolio is a sampler of some various structural beam combinations. It can be viewed as a book, spread by spread, or pinned on the wall, according to taste, the way a kid might stack up building blocks. Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90's he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.
Richard Hamilton: Reaper
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In 1949 Richard Hamilton created the Reaper print series as a reaction to Giedion's 1948 book Mechanization Takes Command, in which he describes the mechanization of everyday life. Reproducing Hamilton's complete Reaper series alongside illustrations created by Giedion plus related images, this publication brings together seven essays by renowned international scholars.(...)
août 2017
Richard Hamilton: Reaper
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In 1949 Richard Hamilton created the Reaper print series as a reaction to Giedion's 1948 book Mechanization Takes Command, in which he describes the mechanization of everyday life. Reproducing Hamilton's complete Reaper series alongside illustrations created by Giedion plus related images, this publication brings together seven essays by renowned international scholars. Among the topics discussed are Hamilton's early works and exhibition installation practice, postwar British biotechnology and architecture, "Hippie Modernism" and the visual strategy of Giedion's books.
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This publication reproduces the experimental filmmakers' notebooks from their journey in the Soviet Union at the end of the 1980s. Gianikian & Ricci Lucchi undertook this travel to gather the memories of the cinematographic literary and artistic Russian avant-garde of the '20s and '30s, seeking out survivors and listening to their life stories.
juillet 2017
The arrow of time: notes from a Russian journey, Yervant Gianikian & Angela Ricci Lucchi
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This publication reproduces the experimental filmmakers' notebooks from their journey in the Soviet Union at the end of the 1980s. Gianikian & Ricci Lucchi undertook this travel to gather the memories of the cinematographic literary and artistic Russian avant-garde of the '20s and '30s, seeking out survivors and listening to their life stories.
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"Water projects" presents the complete series of large-scale projects implemented or devised by Christo and Jean-Claude from 1961 to 2016. In addition to the renowned wrapped monuments, from the Kunsthalle in Bern (1967–1968) to the Reichstag in Berlin (1971–1995), the works featured include installations made of barrels and fabrics such as Wall of Oil Barrels: The Iron(...)
Christo and Jeanne-Claude: water projects
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"Water projects" presents the complete series of large-scale projects implemented or devised by Christo and Jean-Claude from 1961 to 2016. In addition to the renowned wrapped monuments, from the Kunsthalle in Bern (1967–1968) to the Reichstag in Berlin (1971–1995), the works featured include installations made of barrels and fabrics such as Wall of Oil Barrels: The Iron Curtain (Paris, 1961–1962) and Valley Curtain (Rifle, Colorado, 1970–1972); huge inflatable objects like 42,390 Cubic Feet Package (Minneapolis, 1966) and 5,600 Cubic Meter Package; the project for Documenta IV (Kassel, 1967–1968); and paths (Wrapped Walk Ways, Kansas City, 1977–1978) and portals (The Gates, New York, 1979–2005). Also included are preparatory drawings for Christo’s latest work, Floating Piers (2014–2016), a walkway stretching nearly two miles that connects two small islands in Lake Iseo, in Italy’s Lombardy region, to each other and to the mainland.
Edmund Alleyn
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Depuis la disparition d'Edmund Alleyn en 2004, le regain d’intérêt à son endroit a culminé avec la rétrospective que lui consacrait le Musée d’art contemporain de Montréal en 2016. Cette biographie intellectuelle prolonge la fascination qu’a suscitée le travail d’Alleyn depuis ses débuts chez les amateurs d’art et les critiques. Fruit d’une recherche approfondie, cette(...)
Edmund Alleyn
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Depuis la disparition d'Edmund Alleyn en 2004, le regain d’intérêt à son endroit a culminé avec la rétrospective que lui consacrait le Musée d’art contemporain de Montréal en 2016. Cette biographie intellectuelle prolonge la fascination qu’a suscitée le travail d’Alleyn depuis ses débuts chez les amateurs d’art et les critiques. Fruit d’une recherche approfondie, cette enquête prend la forme d’un récit rigoureux explorant tous les aspects de la vie de cet artiste inclassable qui a notamment présenté en 1970, au Musée d’art moderne de la Ville de Paris, une des toutes premières œuvres polysensorielles au monde, l’Introscaphe.