Искусство

TASCHEN 25—Special edition!

The bare minimum

Often regarded as a backlash against abstract expressionism, Minimalism was characterized by simplified, stripped-down forms and materials used to express ideas in a direct and impersonal manner. By presenting artworks as simple objects, minimalist artists sought to communicate esthetic ideals without reference to expressive or historical themes. This critical movement, which began in the 1960s and branched out into land art, performance art, and conceptual art, is still a major influence today. This book explains the how, why, where and when of Minimal Art, and the artists who helped define it.

Featured artists: Carl Andre, Stephen Antonakos, Jo Baer, Larry Bell, Ronald Bladen, Walter De Maria, Dan Flavin, Robert Grosvenor, Eva Hesse, Donald Judd, Gary Kuehn, Sol LeWitt, Robert Mangold, John McCracken, Robert Morris, Robert Ryman, Fred Sandback, Richard Serra, Tony Smith, Frank Stella, Robert Smithson, Anne Truitt

About the Series:
Every book in TASCHEN's Basic Art Series features:

* a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
* approximately 100 color illustrations with explanatory captions
* a concise biography

Fellow painter Walter Erben spent countless hours conversing with his colleague Joan Miró (1893-1983) at his house in Mallorca in preparation for this book. Over the course of these talks, Miró gave Erben many interesting and invaluable insights into his art, as well as his own interpretations of his most significant works.

Thus was born this Miró retrospective which explores, through texts and images, the life`s work of one of the 20th century's most influential painters.

The author: Walter Erben (1908-1981) studied German at Berlin University as well as painting at the Academy of Art in Düsseldorf, where he studied under Oskar Moll and Paul Klee. Erben taught fine art in Rome and Hagen, authored many successful books on the subject, and lectured extensively during his lifetime.

The editor: Hajo Düchting (b. 1949 in Düsseldorf) studied art history, philosophy and archaeology in Munich, where he gained his doctorate in 1981 with a thesis on Robert Delaunay’s Windows series. After working in museum and adult education, he moved on to teaching posts and guest professorships at the universities of Munich, Kassel, Leipzig, Saarbrücken and Mainz. Düchting has published numerous articles on the art of the modern era, colour theory and the teaching of art and has authored a number of TASCHEN titles, including Paul Cézanne (1988), Wassily Kandinsky (1990); Robert and Sonia Delaunay (1993) and Georges Seurat (1999).

Assassinator of painting. The artist who upset the establishment

Joan Miró (1893-1983) is one of the most significant Spanish painters of the twentieth century. The themes and treatments of his early work were shaped by the Catalan landscape and clearly show the influence of Fauvism and Cubism. During his travels, Miró encountered the intellectual avant-garde of his time; his friends included Francis Picabia, Tristan Tzara, André Masson, Jean Arp and Pablo Picasso.

From the mid-1920s onward, Miró strove to leave direct objective references behind and developed the pictograms that typify his style. The pictures of this period, which include perhaps the most beautiful and significant of his whole oeuvre, dispense with spatiality and an unambiguous reference to objects. From then on, the surfaces were defined by numerals, writing, abstract emblems, and playful figures and creatures. In the postwar years be begin producing graphic works, ceramics, monumental murals, and sculptures. In these works, too, the Catalan artist sought the solid foundation of a figurative, symbolic art, featuring faces, stars, moons, rudimentary animal forms, and letters. Joan Miró developed in several stages his characteristic flowing calligraphic style and his world of forms resembling shorthand symbols in several stages. From Fauvism to Surrealism by way of his original childlike style, Miró sought to shake up the establishment and in doing so made a name for himself.

About the Series:
Every book in TASCHEN's Basic Art Series features:

* a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
* approximately 100 color illustrations with explanatory captions
* a concise biography

• Charts the whole history of art from the earliest carved stone to the latest media
• Takes a truly global picture, connecting different cultures across time and space
• Hundreds of works are discussed and illustrated, showing how art uniquely reflects the world in which it was produced

Julian Bell has excitingly chosen a global perspective, setting up juxtapositions that will challenge and enlighten readers: dancing bronze figures from southern India, Romanesque sculptures, Baroque ceilings and Persian manuscripts are discussed side by side as extraordinary testaments to our universal creative instinct.

With an insider’s knowledge and an unerring touch, Bell draws these diverse strands into a beautifully written, lucid and compelling account.

Both a perfect introduction to wider art history and a glimpse inside the artistic mind, this groundbreaking narrative will become a touchstone for a new generation of readers.

Catalog of the exhibition Mistaken Identity by The Hilton Brothers (Christopher Makos and Paul Solberg). The Hilton Brothers artistic duo emerged as a result of a series of collaborations between the two artists. While travelling a few years ago, they realised that they were interested in the same themes and, as something of a joke, decided to photograph the same things. The idea of identity who took which photo and why was the difference discernible led them to begin a series of diptychs in which they would photograph two objects separately but then put them together in the same print. This marked the beginning of their exploration of other collaborative projects.The Hilton s photographs reveal a naïve perspective diffused by a certain contemporary cynicism. Captured on their travels around the world, their images are the outcome of subdivisions and reconstructions in which the different locations of places are merely panels of aesthetic snippets combined to produce works which form an intrinsic part of their philosophy of life, taste and American culture.

Marilyn Monroe is our supreme icon of glamour, vulnerability, personal magnetism, and the American dream, and her legend continues to grow four decades after her death. MM - Personal is a new look behind the veil of that legend, reproducing the most fascinating relics from her private archive - once thought to have been lost, and never before revealed to the public - to clarify, qualify, or reverse many common conceptions about the “blond bombshell.”

Selected from more than 10,000 largely unseen and heretofore unpublished items from Marilyn’s own file cabinets, these documents, snapshots, letters, memorabilia, and ephemera are joined by the first account of Monroe’s life since Gloria Steinem’s Marilyn to be written by a feminist historian, revealing shades of her genius that have never before been fully understood.

Les marqueteries peuvent être l’objet d’utilisations diverses. Ce livre présente des modèles destinés à recouvrir les boîtes. Ces marqueteries peuvent aussi être réalisées sous forme de tableau. Les photos sont accompagnées d’un dessin du sujet et de plans pour réaliser différents modèles de boîtes.

Les cent modèles de marqueterie présentés dans ce livre sont tous réalisés par l’auteur. Certaines de ces pièces sont simples et peuvent être facilement reproduites, d’autres nécessitent un véritable savoir-faire. Le thème des oiseaux, des villages, du portrait figurent parmi les dix sujets choisis. Ce livre offre au marqueteur débutant ou chevronné des sujets variés réalisables quelle que soit la technique de marqueterie employée.

Dans les pays de montagnes lorsque la neige empêche toute activité agricole, beaucoup de paysans passaient leur temps à sculpter le bois des meubles et des objets domestiques. Cette tradition est très vivace au Queyras, région montagneuse du Dauphiné, qui a développé une sculpture au couteau principalement géométrique appliquée sur bien des objets d’art populaire. La technique en est simple : elle ne nécessite qu’un couteau bien affûté (l’auteur utilise un simple Opinel) et une grande précision dans le tracé. Les essences traditionnellement utilisées sont le pin cembro et le tilleul.

Guy Thory nous présente ici plusieurs centaines de modèles de sculpture sur bois - motifs ornementaux, motifs géométriques – et nous explique chaque fois leur réalisation grâce à un dessin précis et une photo du motif réalisé.

Le livre est agrémenté de nombreuses photos de meubles anciens appartenant au Musée Dauphinois de Grenoble et au Musée départemental de Gap dont beaucoup, comme les fameux coffres de mariage, sont des chefs-d’œuvre d’art populaire et de sculpture sur bois au couteau.

Sommaire :
Les bases : bois, outillage, histoire de la rosace, motifs traditionnels, tracés de base, exemples d’art populaire.
Les modèles : rosaces, croix pattées, soleils, palmettes, lentilles, dents de loup, étoiles, croisillons, dessins composés, couteaux et gouges, motifs floraux, dessins italiens, chiffres et lettres. 

Masters that matter in Modern Art

A blow-by-blow account of groundbreaking works in Modernism

The story of Modern Art began roughly 150 years ago in Paris, where a circle of painters, whom we now know as Impressionists, shook up the established art world. They painted their pictures with broad strokes that seemed unfinished in light of the meticulous official art, they portrayed life on the street instead of overblown heroic scenes and they escaped the power of the reigning salon painters by organising their own independent exhibitions. Once standard academic practice had been overcome, there was no holding back, and in a constant desire to pursue new roads, one style supplanted the next, always bringing different innovations: after Impressionism, there followed Symbolism, Expressionism, Futurism, Dada, Abstract Art, renewed Realism, Surrealism, Abstract Expressionism, Pop, Minimal and Conceptual Art. And still in Post-Modernism and the contemporary work of a Koons, Kelley or Wool, this modernist drive to make something new is still much alive.

Essays introducing all the major art movements give the reader a thorough grounding in the historical development of Modern Art. At the heart of this book though is the year-by-year succession of groundbreaking works, with 200 featured pieces receiving an own text that introduces the artist and makes the importance of the work apparent. These paintings and sculptures, photographs and conceptual works, both classics and surprising rediscoveries, tell the story of an art epoch that continued to thrive on ever fresh ideas and innovations.

• 187 artists’ portraits
• 44 original photos of artists in their studios
• 14 essays
• 7 fold-outs
• 30-page appendix with artists’ biographies, a glossary of key terms and an index of names and works

Click here to download table of contents

The editor:
Hans Werner Holzwarth is a book designer and editor based in Berlin, with numerous publications mainly on contemporary art and photography. For TASCHEN he has edited, among other titles, Jeff Koons, Christopher Wool, Albert Oehlen and Neo Rauch.

Modern Matters. A blow-by-blow account of Modernism

This indispensable overview traces the restless energy of modern art with a year-by-year succession of the groundbreaking artworks that shook standards and broke down barriers. Featuring hundreds of paintings, sculptures, photographs, and conceptual pieces that trace the story of modern art’s innovation and adventure.

Most art historians agree that the modern art adventure first developed in the 1860s in Paris. A circle of painters, whom we now know as Impressionists, began painting pictures with rapid, loose brushwork. They turned to everyday street life for subjects, instead of overblown heroic scenes, and they escaped the power of the Salon by organizing their own independent exhibitions.

After this first assault on the artistic establishment, there was no holding back. In a constant desire to challenge, innovate, and inspire, one modernist style supplanted the next: Symbolism, Expressionism, Futurism, Dada, abstract art, renewed Realism, Surrealism, Abstract Expressionism, Pop, Minimal and conceptual practice.

This indispensable overview traces the restless energy of modern art with a year-by-year succession of the groundbreaking artworks that shook standards and broke down barriers. Introductory essays outline the most significant and influential movements alongside explanatory texts for each major work and its artist.

The editor:

Hans Werner Holzwarth is a book designer and editor specializing in contemporary art and photography. His TASCHEN publications include Collector’s Editions like Jeff Koons, Christopher Wool, Albert Oehlen, Ai Weiwei, and the David Hockney SUMO A Bigger Book, as well as monographs like the XXL-sized Jean-Michel Basquiat and survey books such as Modern Art and Art Now! Vols 3 and 4.

This story of modern art unfolds like a timeline of watershed events that decisively influenced popular opinion and paved the way for further artistic achievement.

Chronologically arranged, each chapter focuses on a particular work or idea that changed modern art as we know it. Through beautiful spreads and with informative text, readers will discover how a painting such as Édouard Manet’s »Le Déjeuner sur l’Herbe« shocked the art establishment with its depiction of nude women alongside fully clothed men. The author explains how the work’s striking visual quality and easy brushstrokes helped give birth to the Impressionist movement. This book features a number of similarly pioneering works such as Monet’s »Impression, Sunrise«, Cézanne’s »Mon Sainte-Victoire«, Van Gogh’s »Wheatfield with Crows«, Rodin’s »Monument to Balzac«, Matisse’s »Woman with a Hat«, Picasso’s »Les Demoiselles d’Avignon«, Duchamp’s »Bicycle Wheel«, Ernst’s »Aquis Submersus«, Rivera’s »La Creación«, Calder’s »Lobster Trap and Fish Tail«, Pollock’s »Full Fathom Five«, Nam June Paik’s »TV Cello«, Smithson’s »Spiral Jetty«, and Chuck Close’s »Bob«. Perfect for perusing or reading from cover to cover, this book illustrates how the world’s greatest artists are geniuses at synthesizing the accomplishments of those before them in order to create groundbreaking works for others to follow.

From Leighton to Lucas, thismagnificent survey explores sculpture in Britain over the last 130 years.

Considering the way in which sculpturemediates issues of national identity and how Britains links with its Empire have shaped its artistic output, the book also highlights the dialogues between British and international sculpture.

The importance of the countrys landscape as a location andmediumis examined, as is the perennial choice faced by the sculptor between figuration and abstraction.

Sculpture has changed dramatically in the last century. Traditionalmaterials have given way to expanded practices and the dematerialisation of the art object altogether.

With incisive essays by a number of leading authorities, and including previously unpublished archivematerial and new bibliographic sources, this compelling book documents these seismic shifts.

Modernism: Designing a New World is the first book to explore Modernism in the designed world from a truly international perspective, and across all the arts. It offers a reassessment of the idea of Modernism and reveals the fundamental ways in which it has shaped our own world and its visual culture.

Modernism flourished during the years 1914 to 1939. As a movement it was the key point of reference for 20th century architecture, design and art. Modernists had a Utopian desire to create a better world, frequently combined with social and political beliefs that design and art could transform society. The range of objects illustrated – including painting, sculpture, film, photography, prints and collage as well as architecture, interiors, furniture, manufactured products, graphic and fashion design – reflect the period’s emphasis on the unity of the arts and the key role of the fine arts in shaping contemporary visual culture. Europe and America take centre stage but the reach of Modernism is demonstrated by selected works from around the world, including Russia, Palestine and Japan.

What has prompted contemporary artists to investigate modernity and modernism over the course of the past decades? This publication accompanying the exhibition Modernologies sets out to explore artistic responses to modernity as a socio-political movement aspiring to cultivate a universal language. Diverging conceptions of modernity and the knowledge gained through postcolonial studies in recent years have led to the notion of ‘multiple modernities’.

Against this backdrop, this exhibition advocates neither a ‘new formalism’ nor a ‘return to abstraction’. Its aim is neither to discover hitherto unknown or largely forgotten currents of modernism. On the contrary, it fundamentally challenges the conditions, constraints and consequences of modernity, exposes ambivalences, attempts to develop new readings of the rhetoric of modernity and the concomitant grammar of modernism.

A younger generation of artists is increasingly addressing the legacy of modernity and modernism and the failure of the utopia associated with these terms. What is these artists’ relationship to the promises and formal languages of modernity? How can this historical era even be critically reflected in and be subjected to re-evaluation?

Modernologies unfolds a cartography of alternative viewpoints and narratives, lines of conflicts and unresolved contradictions. More than eighty works and projects by more than thirty artists and collectives establish a new ‘mapping of the critique of modernity’ to which an additional layer is added through comprehensive essays exploring the ideology of aesthetic modernity and delving into interrelationships between modernity and coloniality.

Artists’ statements generated by André Rottmann and texts by various authors, including Inke Arns, Silke Baumann, Benjamin H.D. Buchloh, Sabeth Buchmann, Barbara Clausen, Helmut Draxler, Jordi Font Agulló, Karin Gludovatz, Teresa Grandas, Patricia Grzonka, Matthias Michalka, Juliane Rebentisch, Anne Rorimer, Gertrud Sandqvist, Kerstin Stakemeier.