Kandinsky

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[Redaktion, Martin Engler

"Made in Germany offers a comprehensive survey of contemporary art in Germany. At its core are fifty-two young artists living and working in Germany, about half of whom are from abroad and all of whom are among the promising newcomers of the international art scene. In looking at questions of artistic identity, Made in Germany no longer simply considers the birthplace and biography of the artists, but also the context of where the work itself is produced. This is the first time that modern German art has been clearly examined to this great an extent as a weave of national particularities and cultural exchange." "This volume provides concise insights into the complete oeuvres of all the artists, as well as an informative comparison of the individual artists and each of their different regional and biographical contexts."--Jacket.

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Instituto Tomie Ohtake, 8 julho - 29 Agosto

Curated by Agnaldo Farias, the exhibition comprises about 50 watercolors -with unique characteristics: large dimensions and the use of black- by the mineiro artist, born in Ouro Preto (MG), in an overview of the recent works of the professor and creator of the Escola de Belas-Artes da Universidade Federal de Minas Gerais (UFMG). José Alberto Nemer is a visual artist and PhD in Fine Arts from Université de Paris VIII who belonged to the generation of so-called mineiro designers (from Minas Gerais), and has established himself a sone of the most important exponets of the Brazilian art scene since the 1970s. "For some years now, the watercolors of José Alberto Nemer portray a confrontation between a constructive orientation and an organic impulse, a strugglehe has been perfecting to the complex resultsof today." --Page 69. Regarding the accompanying sheet There is a series of analogies of paintings and photography gathered here. Each set is composed of three small watercolors and one to three photographs, also made by the artist. No watercolor was inspired by a photo, nor the opposite. It is a playful exercise of one same look, whose records, in two different languages, are now exposed side by side. They evidence the occurrence and formal approximation of what the artist calls residual geometryʺ. Thus it is born in the studio or captured in the landscape of daily life.ʺ Page 64

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Bruce Altshuler

The avant-garde is a twentieth-century phenomenon. By the turn of the nineteenth century, artists were beginning to address a far larger audience than ever before, and it was one on whose understanding they could no longer depend. Aesthetic concerns, too, had shifted from representing visual phenomena to reconfiguring the visible world in new and complicated ways. The public was rarely amused. Indeed, as these newer forms of art were presented in now famous exhibitions, derision and anger were the customary responses of the public and the critics. Artists formed more or less cohesive groups of like-thinking individuals who styled themselves the "avant-garde," really a military term for those pathfinders who first venture into unknown or enemy territory. Through photographs of personalities, installations, and works of art, and in a lively text that recounts the artistic thinking and the gossip that surrounded each new movement, The Avant-Garde in Exhibition: New Art in the 20th Century traces this phenomenon from its beginnings in the Fauvist Salon d'Automne in Paris in 1905 through such notorious events as the exhibitions of the Section d'Or (Paris) and the Blue Rider (Munich), the Armory Show (New York), the Futurist 0-10 exhibition (Petrograd), the Dada Fair (Berlin), the Nazi's Degenerate Art Exhibition (Munich), the First Papers of Surrealism (New York), Peggy Guggenheim's Art of This Century (New York), the Ninth Street Show (New York), the Gutai Art Association (Japan), Le Vide (Paris), Full-Up (Paris), the New Realists (New York), Primary Structures (New York), and When Attitudes Become Form (Bern).

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contributing authors, Roland Dorn ... [et al

"Published to accompany a major touring exhibition, this book brings together for the first time the great portraits from all periods of the painter's life. The story begins with the relatively unknown body of vivid, carefully executed drawings of orphans and paupers produced in The Hague when he was a young man. It continues with van Gogh's time in Paris, where the influence of Impressionism, Japanese art, and contemporaries like Gauguin and Bernard led him to produce some of his most famous images.". "Each work is reproduced and set in context by leading scholars. Individually, their essays focus on particular groups of work, shedding new light on van Gogh's aims and methods. Collectively, they establish the centrality of portraiture to his oeuvre."--BOOK JACKET.