Nemer

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Theodora Vischer and Heidi Naef

"Jeff Wall's large color transparencies set forth an imposing and seductive pictorial world. Ranging from the gritty realism of the city street to bizarre flights of fantasy, his photographs have won him wide recognition as one of the most adventurous and accomplished artists of the past three decades. This book accompanies a major retrospective jointly organized in 2007 by Peter Galassi, Chief Curator of Photography, The Museum of Modern Art, New York, and Neal Benezra, Director, San Francisco Museum of Modern Art. Between showings in New York and San Francisco, the show visits The Art Institute of Chicago." "Born in 1946 in Vancouver, British Columbia, where he lives and works, Jeff Wall has charted an ambitious and unique path through the maze of contemporary art, drawing upon such diverse resources as Conceptual art, Neorealist cinema, philosophy, literature, critical theory, modernist photography, and the venerable tradition of European painting. The exhibition includes all of his major works to date, which are reproduced here along with several very recent pictures and a generous selection of artistic sources, cousins, and echoes. The latter are illustrations to Galassi's essay, which sketches the breadth and originality of Wall's artistic and intellectual universe and challenges conventional interpretations of his development and achievement. The book also includes an interview with the artist by James Rondeau, Frances & Thomas Dittmer Chairman, Department of Contemporary Art, The Art Institute of Chicago."--Jacket.

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preface by Josef Helfenstein

In the early 1970s, Rauschenberg moved his permanent studio from New York City to Captiva Island, off the Gulf coast of Florida (Today, this site is in use as the artists' residency program of the Robert Rauschenberg Foundation). This relocation marked a shift from the gritty urban detritus that had been the basis of much of the earlier work to a rhapsodic embrace of color and geometric abstraction in a wholly new vernacular language. The Jammers series (1975-76), its title a direct reference to the Windjammer sailing vessel, is Rauschenberg?s salute to his new island life. In 1975, he also went to India to investigate textiles and papermaking, and the inspiration of this new and exotic context is evident in the use of vivid colors and nuanced textures of cotton, muslin, and silk. For the most part, the Jammers comprise stitched fabrics in pure, solid colors, affixed to rattan poles or hung directly and loosely on the wall; whereas in works such as Sprout (1975) and Caliper (1976), the unadorned poles are the principal formal element, propped against the wall. Departing from Rauschenberg's densely collaged imagery or muscular, layered materials, the Jammers are simple and light, focusing on the transparency and seductiveness of veil-like fabrics, that are lent sculptural structure by the cloth-covered poles or other found objects. In Quarterhorse (1975), segments of blue, green, tan and yellow cloth evoke sandy beaches, palm trees, and bright sunshine. In Index (1976), widths of gleaming azure and white satin drape together, a diptych of clouds and sea. The hot, saturated hues of Pimiento III (1976) and Mirage (1976) attest to more exotic influences; while Coin (1976) incorporates found tin cans, stripped of their labels, gleaming mysteriously inside a gauze bag that sags under their weight.--Gagosian website.

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herausgegeben von Achim Sommer

Lovis Corinth was one of the most exciting artists to emerge from turn-of-the-century Germany. Together with Max Beckmann and Oskar Kokoschka, he became one of the greatest figurative painters of the early twentieth century. An outsider of astonishing individuality, he has resisted categorization by art historians in terms of Impressionism, Expressionism, and other movements. Corinth began his career in the realist tradition in the 1880's, but he was soon at the vanguard of change. Following a period in Munich when his religious and mythological paintings brought him his first taste of fame, Corinth moved to Berlin in 1901, where he spearheaded the protest against Kaiser Wilhelm II's official policy on art. Towards the latter part of his career, Corinth's work clearly reflects his reactions to his own illness and to World War I. Objects are caught up in a play of broad, energetic brush strokes, the paste-like layers of paint applied in sweeping, parallel movements to produce the characteristic hatching that became his hallmark. These later works - mainly landscapes, portraits and self-portraits - continued to be an inspiration to representatives of later movements. Lovis Corinth provides a comprehensive analysis of the artist still little known outside Europe. The Munich and Berlin years, his sources and inspiration, his subject matter, his painting and drawing are examined by authors from America, Britain, and Germany. The book is beautifully illustrated with numerous colour reproductions of his oil paintings, watercolours, drawings, and graphic works, providing the definitive illustrated reference on the artist.

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Hein-Th. Schulze Altcappenberg

"Over 500 years after their creation, all the extant drawings will be shown together for the first time at the Kulturforum, Berlin, the Scuderie Papali at Quirinale, Rome, and the Royal Academy of Arts, London. Each is illustrated in full colour in the catalogue and accompanied by a commentary on Botticelli's response to Dante's poem. They are followed by seven authoritative essays on aspects of Botticelli's and Dante's work, on Divine Comedy illustration in general and on the technique of Botticelli's drawings, illustrated in full colour throughout."--Jacket.