Roxana Marcoci

Encompassing photography, installation, print media, video and more, this publication is the most comprehensive account of Tillmans' wide-ranging career to date A visionary creator and intrepid polymath, Wolfgang Tillmans unites formal inventiveness with an ethical orientation that attends to the most pressing issues of life today. While his work transcends the bounds of any single artistic discipline, he is best known for his wide-ranging photographic output. From trenchant documents of social movements to windowsill still lifes, ecstatic images of nightlife to cameraless abstractions, sensitive portraits to architectural studies, astronomical phenomena to intimate nudes, he has explored seemingly every genre of photography imaginable, continually experimenting with how to make new pictures and deepen the viewer's experience. Published in conjunction with a major exhibition of Tillmans' work at the Museum of Modern Art, this copiously illustrated volume surveys four decades of the artist's career. An outstanding group of writers offer diverse essays addressing key threads of his multifaceted practice, and a new text by Tillmans himself elucidates the distinctive methodology behind his system of presenting photographs. Wolfgang Tillmans: To look without feargrants readers new insight into the work of an artist who has not only changed the way photography is exhibited but pointed contemporary art in dynamic new directions. Wolfgang Tillmans(born 1968) is among the most influential contemporary artists, and the impact of his work registers across the arts, intersecting with fashion, music, architecture, the performing arts and activism. Tillmans is the recipient of the Turner Prize (2000) and the Hasselblad Foundation International Award in Photography (2015). His foundation, Between Bridges, supports the advancement of democracy, international understanding, the arts and LGBTQ rights.

Wolfgang Tillmans: To Look Without Fear

Sarah Hermanson Meister

Published to accompany the first museum exhibition in the United States of the work of German-born Grete Stern and Argentinean Horacio Coppola, From Bauhaus to Buenos Aires explores the individual accomplishments and parallel developments of two of the foremost practitioners of avantgarde photography in Europe and Latin America. The book traces their artistic development from the early 1930s, when the two met in Berlin at the Bauhaus, through the mid-1950s, by which time they had firmly established the foundations of modern photography in Buenos Aires. While twentieth-century photography has a fair number of important teams, Stern and Coppola are unique in that they managed to share their avant-garde ambition while maintaining their autographic styles and individual practices. The couple effectively imported the lessons of the Bauhaus to Latin America, and revolutionized the practice of art and commercial photography on both sides of the Atlantic by introducing such innovative techniques as photomontage, embodied in Sterns protofeminist works for the womens journal Idilio, and through Coppolas experimental films and groundbreaking images for the photographic survey Buenos Aires 1936. Featuring a selection of newly translated original texts by Stern and Coppola, and essays by curators Roxana Marcoci and Sarah Meister and scholar Jodi Roberts, From Bauhaus to Buenos Aires is the first publication in English to examine the critical intersections that defined the notable careers of these two influential artists.

From Bauhaus to Buenos Aires

Geoffrey Batchen

Since its birth in the first half of the 19th century, photography has offered extraordinary possibilities of isolating works of art for study and pleasure. Through cropping, focus, angle of view, distance and lighting as well as the ex post facto techniques of dark room manipulation, collage, montage and assemblage, photographers not only interpret the artworks they record but create stunning reinventions. The Original Copy: Photography of Sculpture, 1939 to Today presents a critical examination of the intersections between photography and sculpture. Through a selection of nearly 300 outstanding pictures by more than 100 artists from the 19th century to the present, The Original Copy explores how one medium has become implicated in the understanding of the other. Photographs reproduced in this richly illustrated volume range in subject from inanimate objects to performing bodies, and include major works by mediums most influential artists, from early modernism to the present.

Photography of Sculpture, 1839 to Today

The Original Copy

Christopher Williams

Mark Benjamin Godfrey

"Chronologically examining the nature of his art within the context of mass media and photojournalism, this handsome volume charts the thirty-year career of the artist and photographer Christopher Williams (b. 1956). Featuring 100 color illustrations, the book also includes a trio of essays by authors Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky that demonstrate how Williams, with high craft and a critical eye, deliberately engages yet reinterprets the conventions of photojournalism, picture archives, and commercial imagery through uncanny mimicry. Committed to the history of photography as a medium of art and intellectual inquiry, Williams's current series tackles the interplay of photography and cinema, upending viewer expectations and the role of spectacle"--

The Production Line of Happiness

Sanja Iveković

This exhibition brings together a historic group of single-channel videos and media installations and over a hundred photomonages.

Sweet Violence

Sanja Ivekovic

Ana Janevski

Ksenia Nouril

The fall of the Berlin Wall and the ripple effects felt over the following years from Bucharest to Prague to Moscow demarcate a significant moment when artists were able to publicly reassess their histories and question the opposition between the former East and the former West. Art and Theory of Post-1989 Central and Eastern Europe takes the pivotal political changes between 1989 and 1991 as its departure point to reflect on the effects that communism's disintegration across Central and Eastern Europe--including the Soviet Union's fifteen republics--had on the art practices, criticism, and cultural production of the following decades. This book presents a selection of the period's key voices that have introduced recent critical perspectives. Particular attention is given to the research and viewpoints of a new generation of artists, scholars, and curators who have advanced fresh critical perspectives and who are rewriting their own histories. Their examination of artistic practices and systems of cultural production proposes distinct outlooks for acting in the contemporary world while simultaneously rethinking the significance of the socialist legacy on art today. Art and Theory of Post-1989 Central and Eastern Europe is an indispensable volume on modern and contemporary art and theory from the region. Contributors. Claire Bishop, Boris Buden, Keti Chukhrov, Kim Conaty, Michelle Elligott, Meghan Forbes, Boris Groys, Jon Hendricks, Sanja Iveković, IRWIN (Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik), Ana Janevski, David Joselit, Klara Kemp-Welch, Juliet Kinchin, Zofia Kulik, Katalin Ladik, Roxana Marcoci, Magdalena Moskalewicz, Ksenia Nouril, Dan Perjovschi, Natasa Petresin-Bachelez, David Platzker, Paulina Pobocha, Christian Rattemeyer, David Senior, Tamás St.Auby, Hito Steyerl, Dimtry Vilensky, Artur Żmijewski

A Critical Anthology

Art and Theory of Post-1989 Central and Eastern Europe

In recent years a number of artists have transmuted the lexicon of comic strips and films, cartoons and animation into a new, representational mode of 'comic abstraction'. From Julie Mehretu's intricately layered paintings to Arturo Herrera's psychological collages, the world of comic abstraction reflects the intensely personal relationship that many contemporary artists maintain with the political makeup of the world. Bridging the rift between abstract form and social consciousness in ways that are both critical and playful, this exhibition presents the first investigation into the experimental outgrowths of comic abstraction.

Roxana Marcoci

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