Liam Gillick

Lisa Le Feuvre

Gavin Delahunty

Megan R. Luke

Dallas Museum Of Art

Kristy Bell

Chelsea Pierce

G�nther F�rg (1952-2013) was a German painter, sculptor, and photographer with an irreverent approach to abstraction. F�rg's project tackled the latent instability between image and reality. His painterly surfaces may appear exquisitely sensitive, his installations elegantly precise, but these are mastered and executed with a cold detachment. His deft manipulations of the languages of abstraction obscured a darker message. This publication, the most comprehensive to date, offers an important new understanding of this extraordinary and complex artist. Three years in the making, it reinterprets F�rg's oeuvre to reveal an artistic project that raises important questions about the traditional role of an object as a conveyor of fixed meaning. The book's subtitle--"A Fragile Beauty"--is an indication of how F�rg successfully manipulated what is behind and beyond an object's appearance.

A Fragile Beauty

Günther Förg

German artist Kurt Schwitters (1887–1948) is best known for his pioneering work in fusing collage and abstraction, the two most transformative innovations of twentieth-century art. Considered the father of installation art, Schwitters was also a theorist, a Dadaist, and a writer whose influence extends from Robert Rauschenberg and Eva Hesse to Thomas Hirschhorn. But while his early experiments in collage and installation from the interwar period have garnered much critical acclaim, his later work has generally been ignored. In the first book to fill this gap, Megan R. Luke tells the fascinating, even moving story of the work produced by the aging, isolated artist under the Nazi regime and during his years in exile. Combining new biographical material with archival research, Luke surveys Schwitters’s experiments in shaping space and the development of his Merzbau, describing his haphazard studios in Scandinavia and the United Kingdom and the smaller, quieter pieces he created there. She makes a case for the enormous relevance of Schwitters’s aesthetic concerns to contemporary artists, arguing that his later work provides a guide to new narratives about modernism in the visual arts. These pieces, she shows, were born of artistic exchange and shaped by his rootless life after exile, and they offer a new way of thinking about the history of art that privileges itinerancy over identity and the critical power of humorous inversion over unambiguous communication. Packed with images, Kurt Schwitters completes the narrative of an artist who remains a considerable force today.

Space, Image, Exile

Kurt Schwitters

Harry Cooper

Frank Stella

Arthur M. Sackler Museum

"For Frank Stella, 1958 was a crucial year. After graduating from Princeton University, he moved to Manhattan and painted a series of monumental, colorful canvases that culminated in the first of his famous Black paintings. This book focuses on the thirty or so works he painted in that year. The paintings reflect his transformation from a student experimenting with abstract expressionism to a highly original artist whose works changed the course of postwar art." "Presenting the entire group of works in color for the first time (except those that are lost and known only through black-and-white photographs), this book details the course of Stella's career in 1958. The authors situate his work in relation to that of Jasper Johns, whose debut show in 1958 had a strong impact on Stella, and Carl Andre, with whom Stella shared studio space that year. Their analysis examines concepts of originality, repetition, assemblage, illusion, and opticality to forge a new view of Stella's early development." "Drawing on archival findings, firsthand observations of the paintings, and interviews with Stella and members of his circle, this volume enriches our understanding of a fascinating and critical stage in the artist's development."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Frank Stella 1958

Sarah Hamill

Ever since the mid-nineteenth century, when the new medium of photography was pressed into service to illustrate sculpture, photographs of sculptural objects have directed viewers as to what, in the course of ambling around a sculpture, was the single perfect moment to stop and look. What is the photograph’s place in writing the history of sculpture? How has it changed according to culture, generation, criti-cal conviction, and changes in media? Photography and Sculpture: The Art Object in Reproduction studies aspects of these questions from the perspectives of sixteen leading art historians. Their essays consider iconic photographs, archival collections, new and forgotten technologies, and conceptual challenges in photographing three-dimensional forms that have directed changing historical and stylistic attitudes about how we see, write about, and narrate histories of sculpture. Chapters on such varied topics as picturing Conceptual art, manipulating sacred images in India to be non-photographs, and framing Roman art with an iPad illustrate the latent visual and narrative powers and ever-expanding potential of these images of sculpture.

The Art Object in Reproduction

Photography and Sculpture

Joseph Leo Koerner

Marijeta Bozovic

Frauke Josenhans

An unprecedented survey of artists in exile from the 19th century through the present day, with notable attention to Asian, Latin American, African American, and female artists This timely book offers a wide-ranging and beautifully illustrated study of exiled artists from the 19th century through the present day, with notable attention to individuals who have often been relegated to the margins of publications on exile in art history. The artworks featured here, including photography, paintings, drawings, prints, and sculpture, present an expanded view of the conditions of exile--forced or voluntary--as an agent for both trauma and ingenuity. The introduction outlines the history and perception of exile in art over the past 200 years, and the book's four sections explore its aesthetic impact through the themes of home and mobility, nostalgia, transfer and adjustment, and identity. Essays and catalogue entries in each section showcase diverse artists, including not only European ones--like Jacques-Louis David, Paul Gauguin, George Grosz, and Kurt Schwitters--but also female, African American, East Asian, Latin American, and Middle Eastern artists, such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte Jacobi, An-My Lê, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and Shirin Neshat.

Expressions of Loss and Hope

Artists in Exile

Megan R. Luke

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