Каталоги з мистецтва

This exhibition catalog presents the recent atmospheric paintings of one of the most important representatives of contemporary Spanish art, inspired by the seascapes of his native Majorca.

Miquel Barceló (1957–) is a contemporary Spanish artist known for his experimental approach to painting and sculpture. Whether utilizing bleach, organic matter, or even live insects, Barceló’s neo-Expressionist oeuvre explores decomposition, light, and the natural landscape. Born in 1957 in Majorca, Spain, he credits the influence of Lucio Fontana. His work is both abstract and cerebral, as evidenced by his broad range of paintings, ceramics, and installations. In 2011, Barceló exhibited his sculpture in New York’s Union Square. Currently living and working in Paris and Majorca, the artist has works in the collections of the Guggenheim Museum Bilbao, the Museum of Modern Art in New York, and the Reina Sofía National Museum in Madrid, among others.

About the Author:

Acquavella Galleries is distinguished for its expertise in the files of nineteenth-, twentieth-, and twenty-first-century art. For more than ninety years, Acquavella Galleries has sold major paintings and sculpture to private collectors and museums worldwide.

Опублікований у зв'язку зі знаковою виставкою Tetsuya Ishida: My Anxious Self у галереї Gagosian New York, цей повністю ілюстрований каталог документує понад вісімдесят картин покійного Тецуї Ішіди та включає нові есе Сесілії Алемані та Дітарда Леопольда.

Tetsuya Ishida: My Anxious Self супроводжує оглядову виставку 2023 року, кураторкою якої є Сесілія Алемані, що представляє понад вісімдесят картин покійного японського художника з нагоди п'ятдесятої річниці його народження. З роботами з маєтку Ішіди, відомих приватних колекцій та Префектурного музею мистецтв Сідзуока, місто Сідзуока, Японія, «Тецуя Ішіда: Моє тривожне «я» являє собою найповнішу презентацію творчості художника, яка коли-небудь була представлена ​​за межами Японії, і його першу в історії в Нью-Йорку.

Протягом лише десяти років Ішіда створив вражаючий масив робіт, зосереджених на темі людського відчуження. Він з'явився як художник під час «втраченого десятиліття» Японії – рецесії, яка тривала протягом 1990-х років, а його картини відображають почуття безнадії, клаустрофобії та відчуженості, що характеризували японське суспільство в цей час швидкого технологічного прогресу. Перед своєю передчасною смертю в 2005 році Ішіда викликав алегорії викликів національного життя в картинах та графічних роботах, сповнених кафкіанської абсурдності.

Каталог містить розкішні фотографії, включаючи деталі, виставлених картин. Розширене есе Алемані надає важливий історичний та інтерпретаційний контекст для роботи, тоді як есе Дітарда Леопольда досліджує часте використання Ішідою власного обличчя у своїх картинах. Каталог також містить передмову Ларрі Гагосяна; вступ Мічіакі Ішіди, брата художника; та передрук оповідання «Червоний кокон» (1950) Кобо Абе.

Ішіда народився в місті Яїдзу, префектура Сідзуока, в 1973 році та помер у Токіо в 2005 році. Гагосян представив першу виставку робіт Ішіди за межами Японії, в Гонконзі в 2013 році.

Про авторів:

Кобо Абе (1924–1993), якого вважають одним із найвпливовіших післявоєнних романістів Японії, також відомий своїми оповіданнями, п'єсами та кіносценаріями. Сесілія Алемані, італійська кураторка, яка мешкає в Нью-Йорку, є директоркою Дональда Р. Маллена-молодшого та головною кураторкою програми High Line Art, що представляється High Line у ​​Нью-Йорку. Мічіакі Ішіда — старший брат Тецуї Ішіди. Дітхард Леопольд, який народився у Відні в 1956 році в родині колекціонерів творів мистецтва, продовжує жити в австрійській столиці, де працює куратором у Музеї Леопольда та пише оперні лібрето в стилі японських п'єс Но.

The highly anticipated fifth volume of The Andy Warhol Catalogue Raisonné, covering his paintings from 1976 to 1978

This two-book addition to The Andy Warhol Catalogue Raisonné persuasively demonstrates the subversive core of Warhol's art. Intent on radical departure from his portraiture in the early seventies, Warhol's production gradually became anything but 'just faces'. From portraits of athletes and self-portraits to his Skull and Hammer and Sickle series, the Torso and Sex Parts paintings, and his abstract Piss, Oxidation, and Cum canvases, volume 5 showcases Warhol's work as powerful, and provocative as ever.

About the authors:

Neil Printz co-edited volumes 1 and 2 of The Andy Warhol Catalogue Raisonné and is the editor of volumes 3 and 4. He was formerly editor of the Isamu Noguchi Catalogue Raisonné and research curator for twentieth-century art at The Menil Collection, Houston.

Sally King-Nero, executive editor of Volumes 2, 3, and 4 of The Andy Warhol Catalogue Raisonné, is curator of drawings and photographs at the Andy Warhol Foundation for the Visual Arts in New York.

The first in a multi-volume series on Warhol's complete artworks.

Andy Warhol (1928-1987) is one of the most iconic figures of twentieth-century art, a highly enigmatic personality who not only altered the definition of art but also left in his wake a vast and staggeringly complex record of his daily activities.

The Andy Warhol Catalogue Raisonné, the definitive record of the artist's paintings, sculptures and drawings, cover some 15,000 works produced by Warhol between 1948 and 1987. Also included is an incredible array of rarely published source material, including newspaper scraps and movie star publicity stills that inspired Warhol's boundlessly fascinating life and career.

The Andy Warhol Catalogue Raisonné was initiated in 1977 by Thomas Ammann. The editors Georg Frei and Neil Printz began primary research in 1993 and have been advised throughout the project by the distinguished curators and art historians Kynaston McShine and Robert Rosenblum. Experts from the Andy Warhol Foundation personally examined the vast majority of Warhol's works and began a thorough review of his archive, which at his death consisted of some 1,500 cardboard boxes, flat files, and trunks filled with source material, memorabilia, correspondence and junk mail.

The editors examined works in museum conservation facilities and discussed them with conservators, submitted works for review by the Andy Warhol Art Authentication Board, and interviewed Warhol's assistants and colleagues to assemble a customized database of works unparalleled in Warhol scholarship. All of their findings are documented in this unprecendented project.

Each annotated catalogue entry includes the works title, date, medium, dimensions and present owner, followed by a record of inscriptions, provenance, exhibitions and literature. Related works are linked by general introductory texts that explore historical circumstances, shared themes and studio practices. Supplementary figures to the texts illustrate source materials that Warhol appropriated for his works: newspaper articles and advertisements, soup cans and publicity stills, as well as related drawings, works by other artists, and studio and exhibition views. Volume 1 includes classic and much-prized Warhols such as the Campbell Soup paintings, images of the iconic figures of Marilyn, Liz and Elvis, and early self-portraits.

About the authors:

Georg Frei is a curator, art critic, and editor who has been affiliated with Thomas Ammann Fine Art AG in Zurich since 1988. Previously he wrote art, dance, and theatre criticism for several Swiss newspapers and magazines. For the Thomas Ammann gallery he has organized more than a dozen exhibitions and edited the accompanying catalogues on such artists as Picasso, Cy Twombly, Max Beckmann, and Willem de Kooning. For the Fondation Beyeler in Basel, he was the guest curator of the exhibition 'Andy Warhol: Series and singles, 2000-2001'.

Neil Printz is an art historian with a focus on twentieth century American art. He is currently the editor of the Isamu Noguchi Catalogue Raisonné for the Isamu Noguchi Foundation in New York, and Professor of Art History at Caldwell College in Caldwell, New Jersey. From 1977 to 1983 he was the director of the Holly Solomon Gallery in New York. Dr. Printz has contributed and edited articles for several journals and museum publications, including The Menil Collection in Houston, Texas; the Rheinisches Landesmuseum in Bonn; the Stadel Museum in Frankfurt; and the St. Petersburg Foundation for Culture and Art. He was Research Curator at The Menil Collection from 1983 to 1991.

The fourth volume of this highly praised, definitive reference to Andy Warhol’s (1928–1987) extensive artistic production

The 607 paintings and one sculpture documented in Volume 4 of The Andy Warhol Catalogue Raisonné were produced during a period of less than three years, from late 1974 through early 1977. In September 1974, Warhol changed studios, moving across Union Square from the sixth floor of 33 Union Square West to the third floor of 860 West Broadway. Like Volumes 2 and 3, Volume 4 is identified with a new studio, where Warhol continued to work for a decade, until he moved into his last studio at 22 East 33 Street on December 3, 1984. Volume 4 may be seen as the first in a series of books associated with one studio that will document an enormously productive ten-year period in Warhol's oeuvre from the mid seventies to the mid eighties.

About the authors:

Sally King-Nero, Executive Editor of Volumes 2 and 3 of the Andy Warhol Catalogue Raisonné, is Curator of Drawings and Photographs at the Andy Warhol Foundation for the Visual Arts in New York.

Neil Printz, co-edited the first two volumes of the Andy Warhol Catalogue Raisonné. Paintings and Sculptures, 1961–1963 and Paintings and Sculptures, 1964–1969. He is the Editor of Volume 3: Paintings and Sculptures, 1970–1974. He was formerly Editor of the Isamu Noguchi Catalogue Raisonné and Research Curator for Twentieth Century Art at The Menil Collection, Houston.

The second in a multi-volume series on Warhol's complete artworks.

Andy Warhol (1928-1987) is arguably the most iconic figure of twentieth-century art, a highly enigmatic personality who not only altered the definition of art itself but also left in his wake a vast and staggeringly complex record of his activities. Warhol's archive consists not only of his artworks but also of 1,500 cardboard boxes, flat files and trunks filled with source material, memorabilia, correspondence and junk mail. The catalogue raisonné constitutes an indispensable record of the artist's paintings, drawings and sculptures: some 15,000 works produced by the artist between 1948 and 1987, the year of his death.

Volume 2 documents the artist's paintings, sculpture and installations made between 1964 and 1969, the important period known as 'The Factory Years', when Warhol began to acquire Pop Art fame as well as a cadre of collaborators and groupies - all of which made 'The Factory' into one of the most mythologized artist's studios ever, and Warhol's work at this time emblematic of his career as a whole. This volume documents 23 series and more than 1,400 individual works, including the well-known series Thirteen Most Wanted Men, the box sculptures, approximately 300 works in the Jackie series, and the 1964 and 1964-5 Flowers series, amongst others.

As in Volume 1, Volume 2 includes a fascinating collection of source material: especially the rare studio photographs taken by Billy Name-Linich, who became The Factory's first de facto photographic historian. In this volume, editors Georg Frei and Neil Printz focus on Warhol's serial production, analysing the evolution of Warhol's working methods and the growing relationship between Warhol's exhibitions and his studio production. They establish a sophisticated and extensive chronology for the works of this period, many of which have been difficult to locate and to date, due to their seriality. The text provides both a compelling overview and an unparalleled deconstruction of Warhol's riveting story.

The project is co-sponsored by the Andy Warhol Foundation for the Visual Arts in New York and by Thomas Ammann Fine Art in Zurich.

About the authors:

Georg Frei is a curator, art critic and editor who has been affiliated with Thomas Ammann Fine Art AG in Zurich since 1988. Previously he wrote art, dance, and theatre criticism for several Swiss newspapers and magazines. For the Thomas Ammann gallery he has organized more than a dozen exhibitions and edited the accompanying catalogues on such artists as Picasso, Cy Twombly, Max Beckmann and Willem de Kooning. For the Fondation Beyeler in Basel, he was the Guest Curator of the exhibition 'Andy Warhol: Series and singles, 2000-2001'.

Neil Printz, a specialist in twentieth-century American art, in New York, is currently Editor of the Isamu Noguchi Catalogue Raisonné. He is Professor of Art History at Caldwell College in Caldwell, New Jersey.

Sally King-Nero is Curator of Drawings and Photographs at the Andy Warhol Foundation for the Visual Arts, a position she has held since 1993. She has been extensively involved in the examination and cataloguing of Warhol's works since the 1980s.

A sublime volume about one of the most important collections of ancient marble sculptures in the world, an astonishing private trove largely hidden to scholars and the public until now.

Last published in a nineteenth-century catalog, the distinguished Torlonia Collection of more than 600 priceless Greek and Roman works -- marbles and bronzes, reliefs and sarcophagi, depictions of gods, and portraits of emperors -- is one of the most important assemblages of classical sculptures still in private hands anywhere in the world. This eagerly awaited volume presents a selection of nearly 100 sculptures, which have been chosen for their quality and historic significance and which will be featured in an unprecedented exhibition designed by David Chipperfield and held in the Villa Caffarelli, near the Musei Capitolini in Rome, before touring globally. The legendary aura surrounding this, Rome's last princely collection, is due not only to its extraordinary scope and the high quality of the works, but also to the fact that the collection has not been available to the public for decades.

This revelatory book features multiple essays by leading experts on the history of the collection and scholarly entries for the works detailing important discoveries made through archaeological research as well as the cleaning and conservation of the sculptures.

About the Authors:

Salvatore Settis is the former director of the Getty Research Institute, Los Angeles (1994-99) and of the Scuola Normale Superiore di Pisa (1999-2010), where he also taught classical archaeology and art history. He currently chairs the Scientific Council of the Musée du Louvre and has curated or co-curated a number of exhibitions.

Carlo Gasparri taught archeology and history of Greek and Roman art in the universities of Urbino (1975-90), Viterbo (1990-93) and Naples (1993-2014). He is emeritus professor of the University of Naples Federico II and has authored several books about archeology and Greek and Roman art.

Ambitious art in large formats

Unlimited, Art Basel's pioneering exhibition platform for projects that transcend the classical art-show booth, has been a vital part of the most important art fair since 2000. Every year, more than 70 artists are invited to contribute to this exceptional platform. The concept of this large exhibition is unique and popular with both collectors and visitors, showing oversized works to their best effect in a gigantic, 17,000 square-meter hall, including massive sculptures and paintings, video projections, large-scaled installations, and live performances. Like its predecessors, the 2022 edition of Unlimited promises to attract considerable attention. All contributing artists and their works shown are presented in the Unlimited catalog.

“Anyone who missed the big special show Unlimited at Art Basel can get an impression of it through this illustrated volume. This large, museum-quality exhibition has been expanding the boundaries of art since the year 2000.”– Bücher Magazin.

The divine sky: history’s most beautiful celestial atlas

This collection of celestial maps by Dutch-German mathematician and cosmographer Andreas Cellarius (c. 1596 – 1665) brings back to life a masterpiece from the Golden Age of celestial cartography. First published in 1660 in the Harmonia Macrocosmica, the complete 29 double-folio maps and dozens of unusual details reproduced here depict the world systems of Claudius Ptolemy, Nicolaus Copernicus, and Tycho Brahe, the motions of the sun, the moon, and the planets, and the delineation of the constellations in various views.

Cellarius's atlas, superbly embellished with richly decorated borders depicting cherubs, astronomers, and astronomical instruments, features some of the most spectacular illustration in the history of astronomy. This reprint, made from the beautifully hand-colored and complete copy of the first edition in the Library of the Universiteit van Amsterdam, includes a copiously illustrated introduction by Robert van Gent, one of the leading Cellarius experts, summarizing the history of celestial cartography from antiquity to late 17th/early 18th century and illuminating the life and work of Andreas Cellarius. Van Gent also discusses the historical and cultural context and significance of the atlas and provides detailed descriptions of the astronomical and iconographical content of the plates, allowing modern readers to fully appreciate the masterwork of Andreas Cellarius and his publisher, Johannes Janssonius.

The book’s detailed appendix includes a list of constellation figures with short descriptions of their origin and mythology, a list of star names found on the plates, a glossary of technical words, and a bibliography. Though these sumptuous maps have become famous by being depicted on postcards, calendars, portfolios, and even mouse pads, they have rarely been reproduced in book form and never with such comprehensive descriptions and details as this TASCHEN edition. Cellarius’s exquisite renditions of the constellations will excite the astronomer in anyone.

A catalogue documenting two exhibitions of works by Alexander Calder and Jean Prouvé at Gagosian Gallery, Paris, and Galerie Patrick Seguin, Paris. Calder and Prouvé met in the early 1950s. They corresponded regularly between Calder’s frequent trips to Paris, exchanging ideas on architecture and sculpture. In 1958, Calder collaborated with Prouvé to construct the steel base of La Spirale, a monumental mobile for the UNESCO site in Paris. Letters between the two are illustrated and reprinted in the catalogue.

Calder/Prouvé evokes comparisons in the broad, expressive range of production, emphasis on form, and use of new technologies that the close friends and collaborators evinced in their parallel practices as artist and designer. Considered together, the works in this book testify to the fruitful exchange between two giants of modernism in its most utopian aspirations. Calder works in the book include mobiles, stabiles, and a suite of thirty little-known animal drawings, while Prouvé is represented by rare examples of furniture and architecture including two prefabricated structures. Calder’s invention of the mobile resonated with both early Conceptual and Constructivist art as well as the language of early abstract painting. Prouvé is widely acknowledged as one of the twentieth century’s most influential industrial designers, with a wide-ranging oeuvre that brought a strong social conscience to bold elegant design within an economy of means. Never-before-published letters between Calder and Prouve are illustarted and reprinted in the catalogue.

About the Author:

Annie Cohen-Solal is a French academic and writer. She is the author of a biography on Sartre, Jean-Paul Sarte: A Life and Leo and His Circle: The Life of Leo Castelli. Jean Nouvel is a French architect. He was a recipient of the Pritzker Prize for architecture in 2008, recognizing his work on over 200 projects.

Paul Cézanne (1839–1906) painted almost 200 portraits, including twenty-six of himself and twenty-nine of his wife. This book explores the portraiture of this remarkable artist, whom both Matisse and Picasso called ‘the father of
us all’, and accompanies a major international exhibition – the first devoted exclusively to this aspect of Cézanne’s work.

This book, like the exhibition it accompanies, looks at the special pictorial and thematic characteristics of Cézanne’s portraiture practice, including his creation of complementary pairs and multiple versions of the same subject. The chronological development of the artist’s portraiture is also explored, with an examination of the changes that occurred with respect to his style and method, on the one hand, and his understanding of resemblance and identity, on the other. The extent to which particular sitters inflected the characteristics and development of his practice is also considered.

Cézanne Portraits features works that mutually inform each other to reveal arguably the most personal, and therefore most human, aspect of his art, and one that has hitherto received surprisingly little attention. They range from Cézanne’s earliest surviving self-portraits, dating from the 1860s, through to his final portraits of Vallier, the gardener at his house near Aix-en-Provence, made shortly before the artist’s death in 1906.

Exhibition curator John Elderfield contributes an illuminating introductory essay on Cézanne’s portraiture, while the artist’s biographer, the late Alex Danchev, provides an informative dramatis personae on the sitters featured. The catalogue texts are by John Elderfield, Mary Morton and Xavier Rey, and a chronology by Jayne Warman sets the artist’s work in the context of his life.

The catalogue is published on the occasion of the first individual exhibition of Georges Vantongerloo in Spain. The catalogue reveals the grounding of his work in the re-conceptualisation of pictorial and sculptural space that marked the abstract tendencies in art of the early 20th century. In the 1920s an important part of the Vantongerloo´s investigation was centred on colour as physical and perceptive phenomenon. Later, Vantongerloo will conceive his works according to strictly geometric rules, algebraic afterwards, to turn, thus, into the founder of the mathematical thought in art in our epoch. Genuine pioneer in the abstract sculpture field, the artist will continue, after 1945, proposing peculiar versions of that kind of sculpture, abandoning all the reference to a built geometry, and opening to a subjective approach to the universe of cosmology.

Joe Sorren’s oil paintings redefine naturalist scenery such as caves, reefs, and seashores, inserting a surreal mood through soft, eerie imagery, thick Impressionist-inspired brushstrokes, and animalistic figures caught mid-motion.

Although the subjects are often childlike, the postures and weariness betray adult maturity, drawing a fine line between the vulnerable and precocious. Bulls and minotaurs parade guiltily with parasols and umbrellas through both Sorren’s original paintings and the sculptures created in collaboration with Jud Bergeron.

This monograph of work from 2004-2010 is published in conjunction with the exhibition Joe Sorren—Interruption, for the Grand Central Art Center at CSU Fullerton.

Алістер Дункан, всесвітньо відомий експерт з творчості Луї К. Тіффані, створив вичерпну роботу про провідного американського художника-дизайнера, досліджуючи кожен аспект неперевершених досягнень Тіффані протягом життя, присвяченого, за його власними словами, «Пошукам краси». Оскільки вироби Тіффані продовжували зростати в популярності з моменту їхнього відродження на ринку в 1950-х роках, багато колекціонерів зосереджувалися виключно на лампах, інші — на скляному посуді, а інші знову зібрали колекції, що охоплюють кілька дисциплін Тіффані, наприклад, кілька ламп, ваз, галантереї та одне-дві вікна чи картини. Однак лише Такео Хоріучі поставив собі за мету створити комплексну колекцію, яка включає шедеври в кожній художній дисципліні, до якої присвятив себе Тіффані: картини, меблі, вікна, мозаїка, художнє скло, лампи, галантерея, металеві вироби, емальовані вироби, срібло, кераміка та ювелірні вироби.

Ця книга, заснована на чудовій колекції Музею саду Луїса К. Тіффані, сформованій паном Хоріучі, представляє унікальний огляд усіх аспектів таланту Тіффані.

Вперше можна побачити, зібраний «під одним дахом», весь спектр творчості Луїса К. Тіффані – від його знаменитих ламп та вікон до менш відомих картин та меблів. Кожен предмет колекції відтворено в кольорі, часто доповнений уривками з оглядів сучасного мистецтва та каталогів продажів, реклами та прайс-листів фірми Тіффані, а фотографії показують їх у їхніх оригінальних домашніх умовах, або в виставкових залах фірми чи на міжнародних виставках, на яких вони дебютували. Також проілюстровано майстерні Тіффані, а також записи в журналах її ремісників та анотовані ескізи її дизайнерів. Це багатство ілюстративного матеріалу супроводжується детальними та зворушливими описами Алістера Дункана майстерень, матеріалів, виробничих процесів, багатих і знаменитих, які були покровителями Тіффані, їхніх замовлень та колоритних особистостей команди художників-ремісників, якими себе оточував Тіффані. Ця книга пропонує прекрасне та вичерпне уявлення про кожну мистецьку дисципліну, до якої працював Тіффані, що є справжнім свідченням його надзвичайного таланту.

The exhibition La Corte del Rey Arturo (The Court of King Arthur) presented in the Crystal Palace was a project that reflects Abakanowicz's childhood experience in the Polish forests and lakes where, according to her own words, there were strange powers with magical force of the local popular religious festivals. The exhibition catalog combines, in a retrospective way, a review of Abakanowicz' s previous work with the series that she completed for this occasion. This publication includes three essays of the specialists in her work: Mariusz Hermansdorfer, Karoline Hubner and Mary Jane Jacob.