Искусство

The first and much-anticipated book by visual artist, club creator, and nightlife impresario André Saraiva presents his wide range of works, from street art and contemporary art to graphic design, photography, and his influences on fashion and nightlife.

Street-cool visual artist-cum-nightlife guru, André Saraiva, whose life dovetails into graffiti subculture, chic jet-setting, and the fashion world, presents an autobiographical visual diary of sorts, a revealing window into the worlds he inhabits. This visual journey is an interactive and striking object itself, with either a vibrant pink cloth- or blue cloth-cover (randomly selected), Saraiva’s distinctive handwriting in foil, and seven pop-ups he designed. 

Chances are that while you’ve been strolling through the streets of Paris, London, New York, or Los Angeles, you may have caught a glimpse of Saraiva’s signature graffiti of Mr. A on a random street wall. Or you may have seen him in the Banksy film, Exit Through the Gift Shop; spied him in the front rows of the Paris Fashion Week shows; or seen him at one of his many chic nightclubs. Graffiti Life is a never-before-seen look at the artist’s many spheres through which he effortlessly moves: street culture, contemporary art, graphic design, photography, fashion, and nightlife. It follows Saraiva’s art/life trajectory, and includes his Instagram-worthy tags on the streets of Paris; countless silk-screened posters; paintings and sculpture; creative collaborations with Chanel, Louis Vuitton, and Colette, and more.

About the Authors:

André Saraiva is an artist, hotelier, and entrepreneur. Virgil Abloh is an artist, architect, engineer, creative director, and designer. Magda Danysz is a French art curator and art dealer. Glenn O’Brien (1947–2017) was a writer who focused largely on the subjects of art, music, and fashion. Jeffrey Deitch is an American art dealer and curator. 

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Пролистать книгу Andre Saraiva: Curated Chaos: Graffiti Life

Andrew Wyeth is an essential introduction to the enduring masterworks of this profoundly popular American artist. 

Published on the occasion of the centennial of the artist s birth, this handsome book highlights works spanning the entirety of the artist s seven-decade career painting the landscapes and people he knew in Chadds Ford, Pennsylvania, where he lived, and in Maine, where he summered. 

Many of his most important landscapes and portraits were created in and around his Chadds Ford studio, now part of the Brandywine River Museum of Art, with which Andrew Wyeth was intimately connected since its founding in 1971. 

A short introduction provides an overview of his life, and descriptive captions contextualize some fifty of the artist s finest and most beloved paintings, including Pennsylvania Landscape (1942), Wind from the Sea (1947), Christina s World (1948), Trodden Weed (1951), Roasted Chestnuts (1956), Braids (1977), and Pentecost (1989). Readers will also be treated to works previously unseen, such as Betsy s Beach (2006) and Crow Tree (2007).

Andy Warhol’s continuous pursuit of ideal beauty — visible in a body of his work that is brought here together for the first time.

Andy Warhol is arguably one of the most widely known and discussed artists of the twentieth century. While his depictions of consumer products and celebrities led him to become household famous, there is a red thread throughout his career, starting even in the late forties until his untimely death in 1987. In the eighties Warhol was continuously searching to visualize an ideal of beauty, male beauty, finding form and creating lasting images of what he desired. He visualized and therefore eternalized this continuous pursuit of ideal beauty.

From the early line and blotted line drawings to his screen tests and moving image experiments in the sixties, the torso paintings in the seventies through his collaborations with Jean-Michel Basquiat, there is a continuous search to express an ideal of male beauty. During his lifetime these works were either considered inappropriate, immoral, deviant or even pornographic and therefore illegal. Many of these works never received the public exposure and recognition that they deserve. Neue Nationalgalerie is for the first time putting together a large survey focusing on this thematic and central aspect throughout Warhol’s different production phases and stages of career. This publication offers an insight into a Warhol, that during his lifetime never had a real “coming-out”.

Warhol died in 1987 at the age of only 58. He left behind an incredibly complex and influential body of work, which during his lifetime never experienced the open acceptance that we now have to look at these specific bodies of work.

The most unique masks and sculptures are highlighted and discussed in detail

Anima Mundi is the catalog of the large collection of African art by Jan and Kristina Engels. For several years now they have been presenting their own private collection in their museum JAS (Jan aan de Stroom). It is a place where creativity, art and traditions meet. In the book you will discover beautiful photography of their collected art, accompanied by texts by specialist in African Art, François Neyt. 

_The full catalog of a magnificent collection of African Art.
_Antwerp collectors reveal their private collection.
_Features 464 pages full of beautiful images and accompanying texts by Franćois Neyt, specialized in African art

Text in English, French and Dutch.

About the Author:

François Neyt is an ethnologist, philosopher, archaeologist and art historian. He has previously published three books on African art.

The magic and mastery of anime springs to life in this gorgeous celebration of the genre

A uniquely powerful form of artistic expression, anime has embraced complex and provocative ideas since its inception in the mid twentieth century.

This dynamic and wide-ranging book explores eighty key themes of the genre, from wars to natural disasters, nature to ecology, childhood to magic, dystopias to fables. It looks at more than one hundred masterpieces of Japanese animation, including Akira, Ghost in the Shell, One Piece, Princess Mononoke, Grave of the Fireflies and Howl’s Moving Castle, to show how practitioners consistently balance tradition with modernity and how anime’s distinct style has influenced other forms of media such as video games, comic books and live-action films.

Covering an enormous range of talent — from Isao Takahata, Katsuhiro Ôtomo, and Makoto Shinkai to Studio Ghibli and Mamoru Oshii — it demonstrates how anime makes room for limitless creativity. Unfettered by the physical constraints of nature’s laws, these artists realize our deepest emotions and our wildest dreams.

About the Author:

Nathalie Bittinger is a senior lecturer in film studies at the University of Strasbourg, France. She has published several books on Asian cinema.

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Пролистать книгу   Anime Through the Looking Glass: Treasures of Japanese Animation  на сайте издательства.

What was particularly memorable for those who saw Anish Kapoor’s first shows, in the early eighties, was the silence conveyed to the exhibition space by those small sculptures covered with yellow, red, black or blue pigments.

When the young Kapoor became established on the international scene at the beginning of the eighties,immediately attracting the attention of critics, the art scene was characterized by very noisy art made of large-format paintings, mainly with harsh and violent colors, and redundant in memories and citations ranging from art history to mythology. In this context, Kapoor’s intimist sculptures were offbeat and also distinguished themselves from the so-called “New British Sculpture” so widely discussed in those years.

On closer inspection, that “new” sculpture was not so very new at all, since it constructed narratives and figurative images made through a system of signs placed in relation to each other to give life to a compositional whole.

The young British sculptors had inherited this conception of sculpture from Anthony Caro, and although it was already the postmodern era Caro, as the expression of a tendency to be overcome, was considered the father to kill. The only one of those artists who created a new way to understand sculpture was Kapoor himself, who felt it was possible to return to the origins of art without suffering inferiority complexes towards the artistic avant-gardes of the twentieth century.

Not that Kapoor distanced himself from the history of modern art - as evidenced by his interest in Constantin Brancusi, Marcel Duchamp, Yves Klein, Barnett Newman, Robert Smithson or Donald Judd. To put it simply, he believed there were archaic forms tied to the spiritual dimension that never lost their ability to create relationships between individuals.

Capturing the development of a rising star in the art world, Anna Weyant unveils the artist’s sharp-witted commentary on the representation of women in pop culture and the art historical canon. This book chronicles six years of Weyant’s artistic output and is the most comprehensive publication about her painting practice to date.

Anna Weyant is the first monograph published by Gagosian that is devoted to the New York-based artist best-known for her precisely rendered figures with their creamy curves and soft beauty, which simmer with the tensions between feminine sexuality and purity, tragedy, and comedy.

With a dark sense of humor, Weyant unpicks the tropes and traditions of art historical representation, interrupting masculine expectations to often absurd and excruciating effect. Particularly drawn to the uncertainties of adolescence, the artist captures young females in situations of intimate weirdness and catastrophe.

The resonance of art history and the effect of doubling are topics discussed in essays by both John Elderfield and Yvonne Owens. Elderfield explores the meaning of the uncanny in film, painting, and sculpture, examining the strangeness of familiarity, and the difference between a real figure and a porcelain doll or an automaton. Owens highlights the pictorial devices reimagined by Weyant, including the still life and seductive symbols of vanitas and memento mori.

Naomi Fry describes the potential violence of the double and the menace of everyday objects in Weyant’s world, which she compares to “a velvet-lined jewel box softly sealed shut.” With wry reference to pop culture, Fry asserts the subtle differences and multiple viewpoints that reveal the painter’s virtuosity and the fullness of female experience.

In a conversation between Weyant and Edward Steed, the artist and the acclaimed cartoonist for the New Yorker discuss the awkwardness of fame, the sweet spot of comedy, and the indescribable nature of a great work of art.

About the Authors:

John Elderfield is chief curator emeritus of painting and sculpture at New York’s Museum of Modern Art and was the inaugural Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum, New Jersey. He joined Gagosian in 2012 as a senior curator for special exhibitions.

Naomi Fry is a staff writer at the New Yorker, where she writes about culture in its various forms.

Yvonne Owens writes about art, culture, emotional histories, and the philosophy of art. Her publications to date have focused mainly on representations of women and the gendering of evil in classical humanist discourses. Her most recent book is Abject Eroticism in Northern Renaissance Art: The Witches and Femmes Fatales of Hans Baldung Grien (Bloomsbury, 2020).

Edward Steed is a cartoonist. He has been contributing cartoons and covers to the New Yorker since 2013.
 

The Lost Landscapes of England

Anthony Amies’ paintings assert a classical conception of painting. From the mid 1970s, the British artis pursued a radical counter-concept to the art of his time with a stylistically peculiar landscape painting. They are calm and enigmatic pictures that do without any scandal. In large-scale drawings and oil paintings, he plays with the “blot” technique: Amies abstracts the landscapes to convey an idea rather than a realistic image. The reduction to land and sea is a reflection on England and  the loss of its individual landscapes to the monotony of industrial and urban proliferation and sprawling housing estates. In this idiosyncrasy ― the assertion of the genre of landscape painting and in the painterly quality of the works as a contribution to the assertion of painting in art―lies the importance of this English painter.

About the Artist:

Anthony Amies (1945, Norwich–2000, London) was educated at Great Yarmouth College of Art in the 1960’s and later at London’s Slade School of Fine Art. Refusing to conform to the zeitgeist, he found his visual language inspired by Cozens’ blot technique in the early 1970s, and would persist with it until his untimely death in 2000. Amies received the Arts Council Award in 1977 and worked teaching art in Camden from 1973–1995 at the Camden Institute and the Camden School of Art.

A new and updated edition of the definitive monograph on the British artist Antony Gormley, now available in an affordably priced format.

This beautiful and comprehensive monograph, expanded and updated in a new affordably priced edition, examines the entirety of Gormley’s career, from his earliest sketches to his best-known public installations. Martin Caiger-Smith’s “magnificent, magisterial overview” (The Independent) examines the relationship between Gormley’s life and art and identi-fies the singular vision that ties together a vast canon of work in an extraordinary range of media and materials.

Best known for the major public works that most visibly represent his innovative approach to sculpture, Gormley is a prolific artist who has renegotiated the tension between the individual and the universal. Drawing on images that range from childhood snap-shots to photographs of his most recent installations, this book traces the evolution of Gormley’s work, from the drawings he makes every day in the studio, through the constantly evolving process of casting his own body in various forms, to the ultimate expression of his ideas in such masterpieces as the colossal Angel of the North or the scattered figures of Another Place.

Illustrated with hundreds of images that explore the scale and impact of Gormley’s work — including his acclaimed exhibition at the Royal Academy in 2019, as well as recent installations in Florence, Delos, and New York City—and “dense with insight and deeply considered analysis from the author” (Financial Times), this book is the definitive survey of a monumental career.

About the Author:

Martin Caiger-Smith is Head of the MA Curating the Art Museum program at the Courtauld Institute in London. In his prior roles as Head of Exhibitions and Acting Director of the Hayward Gallery, he organized major exhibitions that showed internationally, including retrospectives of Francis Bacon (1998), Roy Lichtenstein (2004), and Dan Flavin (2006). He writes frequently on art, photography, and architecture. 

The first book to document the history of the groundbreaking company Architectural Pottery, tracing its critical influence on midcentury design and its enduring appeal today

Architectural Pottery’s strikingly minimalist designs heralded new domestic housewares that could uniquely accent the modern home - inside and out. Formally expressive yet accessible, their refreshingly unembellished, elegant pots and planters were enthusiastically received by the public upon Architectural Pottery’s launch in 1950, soon ubiquitous in spaces representing the epitome of modern living.

Highly coveted and prized in design circles, they were seen in houses by Richard Neutra, John Lautner, and the historic Case Study Houses, and featured in the first of MoMA’s legendary Good Design exhibitions alongside now-iconic designs by Ray and Charles Eames, Alexander Girard, and George Nelson. Over three decades, Architectural Pottery also developed innovations in stoneware production, expanded into fiberglass furniture, and included famed furniture designer Paul McCobb and sculptor David Cressey on its roster of designers.

A midcentury modern design enthusiast’s dream, Architectural Pottery: Ceramics for a Modern Landscapeis the first full history of this celebrated and influential brand. Richly illustrated with contemporary photography and extensive visual archival material—including the records of the founders Rita and Max Lawrence, and the personal archives of designers, art directors, and photographers associated with the company - it both tells a compelling story and is a valuable resource for collectors and interior designers.

The publication of this new book will coincide with a major exhibition at the American Museum of Ceramic Art in Pomona, California.

About the Authors:

Daniel Chavkin is a photographer, collector, and researcher of all things modernist, and the author of Unseen Midcentury Desert Modern.

Jeffrey Head is a writer specializing in architecture and design and is author of several books.

Jo Lauria is a Los Angeles–based curator, writer, and educator, as well as coauthor of Master of the Midcentury: The Architecture of William F. Cody, also published by Monacelli.

Celebrating the 400th anniversary of traditional Japanese ceramic culture as interpreted by today’s leading designers

The art of Japanese porcelain manufacturing began in Arita in 1616. Now, on its 400th anniversary, Arita / Table of Contents charts the unique collaboration between 16 contemporary designers and 10 traditional Japanese potteries as they work to produce 16 highly original, innovative and contemporary ceramic collections rooted in the daily lives of the 21st century. More than 500 illustrations provide a fascinating introduction to the craft and region, while the contemporary collections reveal the unique creative potential of linking ancient and modern masters.

About the Author:

Anniina Koivu is a critic, editor, and consultant. She was the editor of Abitare magazine, the director of research and head of international PR & partnerships at Vitra, and in 2013 was appointed head of theory of the masters’ programmes in product design and art direction at ECAL in Lausanne. She is the author of Works (2012) and editor-in-chief of The Walking Society (2015).

Art & War in the Renaissance, published on the occasion of a major traveling exhibition, presents distinctive arms and armor within the rich context of an important tapestry series to highlight the beauty of Renaissance Europe’s war culture.

This significant contribution to art history and military display explores the art of war, from ceremonial armor, arquebuses, and swords to the sumptuous Flemish tapestries depicting the battle of Pavia, the 1525 battle between King François I of France and Holy Roman Emperor Charles V that arguably shaped modern European history.

A vehicle for prestige and propaganda, the unprecedented suite of tapestries from the Museo e Real Bosco di Capodimonte captures the life-size action of the battle of Pavia, as designed by Bernard van Orley, the leading Brussels artist of the time who was famous throughout Renaissance Europe. 

The book showcases sixteenth-century fashions, including fine armor, intricately detailed weapons, and haute couture costumes for men of war from the Armeria Farnese, one of Europe's most significant dynastic armories. Essays by leading scholars delve into the Neapolitan d’Avalos family archive, the conservation efforts to restore the works, as well as their preparatory drawings, now housed at the Louvre. Extensive color plates and many lush details complete this notable volume.

About the Authors:

Sylvain Bellenger is the Director Emeritus of the Museo e Real Bosco di Capodimonte.

Thomas P. Campbell is the Director and CEO of the Fine Arts Museums of San Francisco.

Graziella Palei is a renowned tapestry conservator working for the Italian public heritage.

Cecilia Paredes is an international scholar and tapestry specialist.

Carmine Romano is Curator and Head of Digitization and Digital Catalogue at the Museo e Real Bosco di Capodimonte.

Antonio Tosini is Conservator of the Farnese and Bourbon Armories at the Museo e Real Bosco di Capodimonte.

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Пролистать книгу Art & War in the Renaissance: The Battle of Pavia Tapestries на сайте издательства.

A Handbook to the Art Market

The new look on the history of art and its blind spots, the far-reaching digitization of structures and content, the changing role of museums and art criticism, new forces from influencers to NFTs: Hardly any market system has evolved as profoundly in the last decade as the distribution of art.

With 25 years of experience in the art industry, Dirk Boll acts as a continuous chronicler and seasonal commentator of these pervasive developments. His handbook Art for Sale is a reliable source of in-depth knowledge about the inner workings of global art market systems. How do auctions, the network of galleries, and fairs work? How are prices being made, and how do trends both in the production of art as well as its collection emerge? What is more, the updated and revised new edition provides comprehensive information on the practical issues of art acquisition: What are the customs and pitfalls, the economic interdependencies between the artists, buyers and other market players, and the legal regulations governing the trade with art?

About the Author:

Dirk Boll (*1970, Kassel) studied law in Göttingen and Freiburg im Breisgau. After his postgraduate studies in cultural management, he received his Ph.D. for a thesis on the structures and legal framework of art markets. In 1998, he began his career at Christie's in London and has held various management positions since then. Since 2022, he is the Board Member for 20th and 21st Century Art for EMEA (Europe & UK, Middle East & Africa). Boll is professor of Cultural Management in Hamburg, a member of the Academic Board of Christie's Education as well as External Examiner of Kingston University, London.

The first book to exclusively present Cleto Munaris latest creations in the field of the applied arts: a unique collection of art carpets.

Cleto Munari was born in Gorizia and he lives and works in Vicenza. After meeting Carlo Scarpa in 1973, who encouraged him in his work, he decided to focus his attention on the area of industrial design, and began to work for some of the most important companies in the world. Constantly in search of original ideas, over the years he has tirelessly been engaged in analyzing and experimenting with both forms and material. In 1985 he opened a laboratory-studio-jewelers, where, together with a group of worldclass architects, he designs and produces silver jewelry and other objects for avant-garde collections that truly represent historical revolutions in jewelry both in Italy and abroad, and have also led to the production of watches, pens and furniture.

Cleto Munaris objects have entered the permanent collections of some of the worlds top museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York.

This book is the first to exclusively present Cleto Munaris latest creations in the field of the applied arts. After his jewelery, silverware, watches and furnishings, the great designer has involved ten other designers and artists in the creation of a unique collection of art carpets. Signed by Lawrence Ferlinghetti, Dario Fo, Mario Botta, Alessandro Mendini, Javier Mariscal, Ettore Mochetti, Deisa Centazzo, Sandro Chia, Mimmo Paladino and by Cleto Munari himself, these creations are full-fledged works of art and represent the high point of the skills and expertise of one of the greatest creative designers in the world, who has been designing and producing for over forty years.

Sumptuously illustrated with over 1,000 illustrations and written by one of the world’s leading experts, Art Deco Complete will be the definitive work on the subject for many years to come.

In the most comprehensive account of the decorative arts of the Art Deco period ever assembled, Alastair Duncan celebrates the rich variety of form and diverse international roots that have made it a perennial favourite of collectors and a constant source of inspiration for designers.

Straddling two World Wars and the Great Depression, ushering in the Jazz Age and the era of the automobile and skyscraper, and shaping everything from the Golden Gate Bridge to the humble desk lamp, the story of Art Deco is the story of our modern world.

In its purest forms, it developed from a characteristically French image of luxury and refinement. Later, modernist European and American designers incorporated metal and plastic in styles described as ‘Streamline Moderne’, but which are now called ‘Deco’. Although Paris was the spiritual home of the movement, Art Deco was a truly global style, with designers from every country in Europe and the Americas inspired by a vast international catalogue of artistic and craft traditions.

The guide begins with essays on the major media of the period: Furniture and Interior Decoration; Sculpture; Paintings, Graphics, Posters and Bookbinding; Glass; Ceramics; Lighting; Textiles; Silver, Metal, Lacquer and Enamel; and Jewelry, each followed by lavishly illustrated in-depth biographies of the major designers and artists working in the medium.

The second half of the book is an authoritative illustrated A–Z listing of all significant designers in the Art Deco style, comprising over four hundred entries.

About the author:

Alastair Duncan was for many years an officer and consultant of Christie’s, New York, and is now an independent consultant on the decorative arts of the 19th and 20th centuries. He is the author of many books on the Art Deco period, including Art Nouveau and Art Deco Lighting, Art Deco Furniture, American Art Deco and Art Nouveau and Art Deco Bookbinding.

With over 1000 illustrations in colour and black and white

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Стильно оформленное, прекрасно иллюстрированное подарочное издание большого формата в суперобложке, упакованное в оригинальный подарочный футляр.

Это самая полная энциклопедия, посвященная искусству ар деко, за всю историю изучения стиля. Ар деко считается наиболее изысканным из всех декоративных стилей ХХ века, он возник на основе типично французского представления о роскоши и утонченности, что в 1920-е годы нередко выражалось в использовании экзотических материалов. Богатство и разнообразие форм, множество заимствований из других культур – характерные особенности стиля, благодаря которым ар деко не перестает быть фаворитом коллекционеров и источником вдохновения дизайнеров нового поколения.

Энциклопедия начинается серией эссе, посвященных мебели и декору интерьеров, скульптуре, живописи, графике, плакату и книжным переплетам. Предметом тщательного исследования являются  также художественное стекло, керамика, освещение, текстиль и ювелирные изделия. Каждая глава сопровождается иллюстрациями и подробными биографиями выдающихся мастеров.