Hokusai

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under the direction of Roland Recht

"Long before its emergence as a political entity, Europe was distinguished by its intense traffic in goods and people. Artist, art-lovers, and rich patrons made arduous journeys not only by road but also by river to far-flung locales as they sought to satisfy their appetite for beauty. This is the world of The Great Workshop, in which the editors develop a number of themes analyzing the circulation of art and the artistic community over a substantial geographic area ranging from Dublin to Palermo, from Cordoba to Stockholm, Rouen to Sofia. Short, focused essays treating the peregrinations of those conducting the business of art are crucial to our understanding of the migration of themes and formal motifs." "With its remarkable and often spectacular selections, The Great Workshop illustrates the complex web of European artistic exchange and production. The book contains 350 full-color examples from well over one hundred European collections and essays from distinguished art historians who elucidate a long stretch of art history from the fall of the Roman Empire to the birth of the first great museums of Europe."--Jacket.

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[introduction, Anne D'Harnoncourt

"This book chronicles the friendship and working relationship between Marcel Duchamp (1887-1968) and Joseph Cornell (1903-1972), two of the twentieth century's most innovative and influential artists. Joseph Cornell/Marcel Duchamp...in resonance publishes for the first time the Duchamp Dossier (c. 1942-53) - a hitherto publicly unknown collection compiled by Cornell and discovered in the artist's estate following his death in 1972. The small objects, typed and handwritten notes, and ephemera found within the Duchamp Dossier provide an absorbing record of the interchange between these two artists, which included Cornell's assisting Duchamp on the assembly of his edition de ou par Marcel Duchamp ou Rrose Selavy (commonly referred to as the Boite-en-valise)." "Both artists were intrigued by the connection between art and the found object, and they shared a fascination with replicated images and the processes of reproduction. They had parallel interests in optical devices, ephemeral mediums (such as glass, dust, and paper), filmmaking, and graphic design. The book focuses in depth on Duchamp's box editions and Cornell's often neglected "explorations," arranged files of printed matter, notes, and ephemera related to individuals or specific themes."--BOOK JACKET.

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hereusgegeben von Renate Damsch-Wiehager

Created in 1993 by German artist Martin Kippenberger, the MOMAS (Museum of Modern Art Syros) is an artist museum open until 1996 in Greece on the island of Syros and set up in an unfinished building. Kippenberger invited his artists friends to make projects and works for this place which was also a critique of the museum itself. MAMCO owns all the models and plans of the MOMAS and most of the archives of its 7 years of activity. This book proposes the first comprehensive study of the MOMAS and situates this alternative museum in the history of museums created by artists in the 20th century. The book proposes also interviews with artists invited by Martin Kippenberger to participate to the life of his MOMAS.

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Gerhard Richter

Gerhard Richter, born in Dresden in 1932, is one of the foremost painters of his generation. A great deal has been written about the bewildering heterogeneity of his work over the past 30 years, his seemingly willful and defiant movement between abstract and figurative modes of representation and his use of a variety of methods of applying paint to canvas. And Richter himself is the master of the paradoxical statement. Although he has emphasized that he is foremost a painter and has never been a theorist, throughout his career he has issued provocative and memorable statements. Over seven years in preparation, this book makes available a selection of Richter's texts, many translated for the first time. These texts come from all periods of his career, beginning with a letter he wrote to a film company promoting the first group show of German Pop Art in 1963, in which he was a participant. There are public statements about specific exhibitions, private reflections drawn from personal correspondence, answers to questions posed by critics, and excerpts from journals discussing the intentions, subjects, methods, and sources of his works from various periods. The writings are accompanied by 87 biographical illustrations from the artist's personal collection.