Мистецтво

Following on the widely read The Future of the Museum: 28 Dialogues, which explored how museums are changing through conversations with today’s generation of museum directors, New York-based author and cultural strategy advisor András Szántó’s new compilation turns its attention to architects. The conclusion of The Future of the Museum was that the “software” of art museums has evolved. Museum leaders are “working to make institutions more open, inclusive, experiential, culturally polyphonic, technologically savvy, attuned to the needs of their communities, and engaged in the defining issues of our time.” It follows that the “hardware” of the art museum must also change. Conversations with a carefully selected group of architects survey current thinking in the field, engaging not only architects who have built some of the world’s most iconic institutions, but also members of an emerging global generation that is destined to leave its mark on the museum of the future.

About the Author: 

András Szántó (*1964, Budapest) advises museums, cultural institutions, and leading brands on cultural strategy. An author and editor, his writings have appeared in the New York Times, Artforum, the Art Newspaper, and many other publications. He has overseen the National Arts Journalism Program at Columbia University and the Global Museum Leaders Colloquium at the Metropolitan Museum of Art. Szántó, who lives in Brooklyn, has been conducting conversations with art-world leaders since the early 1990s, including as a frequent moderator of the Art Basel Conversations series.

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 Author:

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.

Animal Anatomy for Artists надасть вам знання, інструменти та довідкові матеріали, необхідні для того, щоб вивести ваші малюнки тварин на новий рівень. Вступні розділи художника та викладача Джо Везерлі зосереджені на структурному підході до малювання, досліджуючи основні теми, включаючи жести, ритм і позування, конструкцію, основи анатомії, пропорції тощо. Далі йде бібліотека візуальних довідників – велика колекція приголомшливих фотографій тварин з детальними накладеними ілюстраціями, що показують структуру скелета, мускулатуру та контурні форми широкого спектру тварин, проілюстровані художницею Шеннон Бомонт. Бібліотека також містить численні ескізи поз кожної тварини, як стаціонарні, так і в середині дії. Незалежно від того, чи ви художник олійним живописом, традиційний скульптор чи художник цифрових концептів, інформативні ресурси в цій книзі допоможуть вам покращити якість і точність вашого мистецтва.

З передмовою художника та викладача Маршалла Вандруффа, Animal Anatomy for Artists – це ключовий ресурс для художників будь-якого рівня майстерності, які прагнуть реалістично зображати тварин або прагнуть перебільшити форму тварин, щоб створити фантастичних істот. Чітка презентація та неймовірні деталі забезпечують пам'ятний ресурс, який дозволить вам створювати анатомічно правильні зображення на довгі роки.

• Написано та проілюстровано експертами в галузі художньої анатомії тварин
• Глибоке ознайомлення з основами та термінологією анатомії тварин
• Розділи охоплюють базові теми, включаючи процес структурного малювання та основи анатомії
• Бібліотека візуальних довідників із 50 кольорових фотографій тварин з детальними накладаннями, що показують скелет, мускулатуру та контури форми кожної тварини
• Додаткові ілюстративні дослідження та ескізи поз для фіксації руху та динамічних ракурсів

Зміст та автори:
ПЕРЕДМОВА Маршалла Вандруффа
ВСТУП Джо Везерлі
ПРОЦЕС МАЛЮВАННЯ
Жест
Ритм та позування
Конструювання
Малювання з уяви
Малювання з натури
Ведення альбому для малювання
Інструменти для малювання
ОСНОВИ АНАТОМІЇ
Спрощені структури скелета
Спрощена мускулатура
Пропорції та анатомія поверхні
Спрощена голова
Спрощена шия та тулуб
Спрощена передня лапа
Спрощена задня лапа
Порівняльна анатомія
ВІЗУАЦІЯ: ДОВІДКОВА БІБЛІОТЕКА
Малюнок Шеннон Бомонт
Бізон
Корова
Коза
Імпала
Вівця
Буйвол
Альпака
Верблюд
Олень
Лось
Жираф
Окапі
Бегемот
Собака
Лисица
Вовк
Кіт
Гепард
Ягуар
Левиця
Онцилла
Тигр
Сурикат
Гієна
Борсук
Видра
Ласка
Росомаха
Море лев
Єнот
Ведмідь грізлі
Білий ведмідь
Кажан
Кенгуру
Осел
Кінь
Зебра
Носоріг
Тапір
Бабуїн
Макака-резус
Шимпанзе
Горила
Слон
Бобер
Миша
Щур
Крокодил
Ящірка
Яструб
ГАЛЕРЕЯ АВТОРІВ
Джо Везерлі
Шеннон Бомонт
ГЛОСАРІЙ

The first history of animation to chart the evolution of this dynamic industry around the world

Maureen Furniss surveys the cultural, political and economic context of how this dynamic industry evolved, emphasizing both artistic and technical achievements from around the world – from Hollywood to Tokyo, from Moscow to Sydney. Featuring a timeline for each of its six parts, Animation: The Global History provides readers with a clear and accessible chronology of events. A ‘Global Storyline’, highlighting the major themes of the era, opens each chapter, and an end-of-book glossary defines key terms used throughout the book.

Topics include:
- Development of animation
- Growth of the studio system
- Stylistic differences between the major studios
- Modernist animation
- Animation in World War II
- International animation
- Experimental animation
- Television animation
- Animation in art and video games

Повний візуальний путівник по міським пейзажам і будівлям найвідоміших і найвпливовіших аніме-фільмів

Вплив аніме, одного з найуспішніших культурних експортних товарів Японії, відчувається в кіно, літературі, коміксах і відеоіграх протягом десятиліть, але мистецькі твори цього жанру залишаються дещо загадковими, особливо в доцифровий період до початку 2000-х років. Справжня закулісна подорож оригінальними фоновими картинами, розкадровками та ранніми проектами найшановніших режисерів та ілюстраторів індустрії,  Anime Architecture представляє потойбічні будівлі та мегаполіси цих провидців як святкування та уроки для найближчого майбутнього.

Включає ексклюзивний матеріал від:

АКІРА, 1988
Патлабор: фільм, 1989
Patlabor 2: Фільм, 1993
Привид в обладунках, 1995
Мегаполіс, 2001
Невинність, 2004
Tekkonkinkreet, 2006
Rebuild of Evangelion, 2007, 2009

Список вмісту:

Вступ • 1. Багатошаровий ландшафт • 2. Масштаб Токіо: нескінченний мегаполіс • 3. Місто зі спеціальними ефектами • Біографічна інформація

Про автора:

Стефан Рікелес – куратор із Берліна. Він був художнім керівником Японського фестивалю медіа-мистецтва в Дортмунді та курував виставку «Proto Anime Cut» у 2011 році. Він працював програмним директором Міжнародного симпозіуму з електронного мистецтва 2010 та курував виставки трансмедійного фестивалю мистецтва та цифрової культури в Берліні. Він має ступінь магістра культурології та аудіокомунікаційних наук в Університеті Гумбольдта та Технічному університеті в Берліні.

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.

Святкування 400-річчя традиційної японської керамічної культури в інтерпретації провідних дизайнерів сьогодення

Мистецтво японського виробництва порцеляни зародилося в Аріті в 1616 році. Зараз, у день свого 400-річчя, Arita / Table of Contents відображає унікальну співпрацю між 16 сучасними дизайнерами та 10 традиційними японськими гончарними майстернями, які працюють над створенням 16 надзвичайно оригінальних, інноваційних та сучасних керамічних колекцій, що вкорінені в повсякденному житті 21 століття. Понад 500 ілюстрацій пропонують захопливе знайомство з ремеслом та регіоном, тоді як сучасні колекції розкривають унікальний творчий потенціал поєднання давніх та сучасних майстрів.

Про автора:

Анніна Койву — критик, редактор та консультант. Вона була редактором журналу Abitare, директором з досліджень та керівником відділу міжнародних зв'язків з громадськістю та партнерства у Vitra, а в 2013 році була призначена керівником теоретичного відділу магістерських програм з дизайну продуктів та арт-директорства в ECAL у Лозанні. Вона є авторкою книги Works (2012) та головною редакторкою книги 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.

________

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