Сборники работ по искусству

A comprehensive survey of the work of the influential Kenyan-American artist Wangechi Mutu

Wangechi Mutu’s multidisciplinary practice grapples with contemporary realities while proffering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis. Her work addresses some of today's most critical questions concerning historical violence and its impact on women, together with our inextricable ties toward one another, our ecosystems, and other life forms.

Accompanying a major solo exhibition at the New Museum opening in February 2023, this expansive survey will trace the entirety of Mutu’s influential career chronologically, from early sculptural works of the late 1990s to her collage works of the early 2000s and more recent video works, large-scale sculptures, and site-specific interventions.

This monograph provides the opportunity to see thematic through-lines and progressions across the entire arc of Mutu's career to date. Her sculptures inaugurated the Metropolitan Museum of Art's Façade Project, and her work is in the collection of the Museum of Modern Art, New York, and Tate Modern, London, among other major institutions. 

About the Authors:

Margot Norton is Allen and Lola Goldring Senior Curator at the New Museum.

Vivian Crockett is Curator at the New Museum.

In remembrance of revered American artist Wayne Thiebaud who passed away in 2021 at the age of 101, the definitive monograph of Wayne Thiebaud’s work is now available in a reformatted, accessibly priced edition, including his last paintings.

This is the most comprehensive monograph to date on Wayne Thiebaud, with new works added, in a reformatted size. Spanning the length of his career from the 1950s to the present, the book has been made in close collaboration with the artist. Thiebaud selected the works himself, making the book an act of autobiography in a sense. At age 100, he looks back over his life and his work, rich with breakthroughs in painting and masterful individuality.

“Required reading for those who have a healthy appetite for provocative art.” — Bloomberg Business

“This comprehensive monograph of more than 200 illustrations can literally be considered eye candy. American artist Wayne Thiebaud is famed for his brightly colored canvases of cakes, diner pies, pastries, ice cream cones, candy and brightly colored gumball machines. . . . Whether still lifes or landscapes, Thiebaud’s paintings are akin to visual Prozac; you simply cannot be in a bad mood looking at them.” — Kansas City Magazine

“While Thiebaud is best known for his heavily pigmented still lifes of cakes, pies, and candies, [this] book shows his broader range, from vibrant landscapes depicting highways and farmland to portraits of solitary figures. . . The texts examine Thiebaud’s influences as well as his impact on the art world and the individual viewers of his work.” — Architectural Digest

About the Author:

Kenneth Baker has been the resident art critic at the San Francisco Chronicle since 1983. Nicholas Fox Weber is a cultural historian and executive director of the Josef and Anni Albers Foundation. Karen Wilkin is an independent curator and art critic based in New York. John Yau is an American poet and critic who lives in New York.

The South African artist William Kentridge Hon RA was born in Johannesburg in 1955 and lives and works there to this day. He is internationally renowned for the expressionism of his work in numerous media, among them charcoal, printmaking, sculpture and film, as well as his acclaimed theatrical and operatic productions. As elusive as it is allusive, Kentridge’s art is shaped by apartheid and grounded in the politics of the post-apartheid era, and in science, literature and history, while always maintaining space for contradiction and uncertainty.

In a brilliant exposition of Kentridge’s output, Stephen Clingman, Distinguished Professor of English at the University of Massachusetts, Amherst, undertakes a series of enquiries, of walks around the artist and his practice, through the various layers and linkages, crossings and connections of his art. As he proceeds, he considers Kentridge’s themes, explores them and proceeds by association to others. Along the way, overlaps, thought collages, allusions and assemblages come together to create a connective, dimensional way of thinking inspired by Kentridge’s own habits of creation.

About the Author:

Stephen Clingman is Distinguished Professor of English at the University of Massachusetts, Amherst.

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Explore William Kentridge’s remarkable performance piece, The Head & The Load, and discover how music, dance, writing, and fine art are combined to tell the haunting story of Africans during WWI

For over thirty years, William Kentridge has been combining fine arts, performance, theatre, and opera to create dreamlike, political, and humanist works. His installation, films, and drawings often deal with the political situation in South Africa, apartheid, and the consequences of colonialism. This book gives an in-depth examination of his performance piece The Head & The Load, which explores the role of Africa during World War I. Throughout the war, more than one million Africans carried provisions and military equipment in hazardous conditions for British, French, and German troops at minimal or no pay.

William Kentridge tells the story of these African porters who ensured the success of the victors, but remain in the shadows. This history, rarely studied today, unfolds in a staged tableau combining music, dance, acting, screenings, and mechanized sculptures. The book includes photos and text from the performance, essays, and artworks created specifically by Kentridge to complement the play. Accompanied by an international cast of singers, actors, and dancers, and with music composed by Philip Miller, The Head & The Load is a powerful and multifaceted work that reconsiders colonial history and its repercussions in today’s world.

About the Author:

William Kentridge is a South African artist internationally renowned for his prints, drawings, and animated films. His artworks are in many collections, including Tate Modern in London, the Museum of Modern Art in New York, and the Centre Pompidou in Paris. His spectacle-performances, including 'The Head & the Load', have been shown at the Festival d Avignon (2012), the thirteenth documenta in Kassel, and MassMOCA, among other prestigious festivals and venues.

An updated edition of the acclaimed monograph, celebrating one of the most iconic and revolutionary artists of our time

"Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring." —The New York Times

Kusama is internationally renowned for her groundbreaking work on themes such as infinity, self-image, sexuality, and compulsive repetition. A well-known name in the Manhattan scene of the 1960s, Kusama's subsequent work combined Psychedelia and Pop culture with patterning, often resulting in participatory installations and series of paintings. This revised and expanded edition of the 2000 monograph, which is arguably still one of the most comprehensive studies on her work to date, has been augmented by an essay by Catherine Taft and a collection of new poems by the artist.

About the authors:

Akira Tatehata is a poet and art critic who has been awarded the 2005 Takami Jun Award for Literature.
Laura Hoptman is a curator at the Museum of Modern Art in New York.
Udo Kultermann was a curator and art historian who taught at Washington University in St. Louis.
Catherine Taft is deputy director of LAXART in Lo

Experience the brilliant artist's lifelong obsession with nature and immersion in gardens, a bedrock of her hugely influential work.

Yayoi Kusama’s work is the product of an infinite curiosity and obsessive drive to create. Throughout the artist’s long and varied career, there is one persistent yet little-studied through line — her deep engagement with nature. From early sketches depicting flowers at her family’s plant nursery in Japan, to her most recent monumental sculptures of botanical forms poised to take flight, Kusama consistently calls our attention to the patterns, connections, and cycles of living things that are not always visible.

Yayoi Kusama: Cosmic Nature is the accompanying catalogue to the first comprehensive exploration of the artist’s enduring fascination with the natural world, exhibited across the 250-acre landscape of The New York Botanical Garden. The exhibition examines her lifelong awareness and attunement to nature, which serves not merely as a source of inspiration, but is an integral source of power for her artistic language. This profound life force pervades all of Kusama’s work, from studies of the molecular to contemplations of the universal, resulting in a transcendent, cosmic nature.

Exhibition guest curator Mika Yoshitake, an independent scholar specializing in postwar Japanese art, and Joanna L. Groarke, NYBG exhibitions curator, catalogue co-editors, bring together essays by art historians, curators, and a scientist, who each present unique interpretations of Kusama’s engagement with the natural world. Featuring more than 120 drawings, paintings, sculptures, and archival photographs, including stunning views of the works displayed in NYBG’s gardens and galleries, Yayoi Kusama: Cosmic Nature offers a new perspective on one of the world’s most celebrated contemporary artists.

About the Authors:

Mika Yoshitake is an independent curator, and most recently Curator at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Alexandra Munroe is Senior Curator at the Solomon R. Guggenheim Museum. Jenni Sorkin is Associate Professor of Contemporary Art History at the University of California, Santa Barbara. Karen Daubmann is Associate Vice President for Exhibitions and Public Engagement at NYBG. Joanna L. Groarke is Director of Public Engagement and Library Exhibitions Curator, NYBG.

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Step into the fantastical world where Stan Manoukian’s complex and intricate creatures inhabit. Zoologia: The Art of Stan Manoukian is a 200-page anthology that showcases the famed illustrator’s most loved creations.

Inspired by engraved plates and old encyclopedias, Zoologia: The Art of Stan Manoukian is divided into six chapters each representing distinct geological terrains and environments his creatures inhabit: frozen, swampy, dry, wooden, rocky, and twilight.

Never Show Everything. Big curves and suggestive smiles

“Girls, Gags & Giggles,” ran publisher Robert Harrison’s recipe for dishing up pin-up to the American male. Men loved his tasty dishes, a mixture of strippers and starlets dressed in outfits so fetishistic no one noticed they were never nude. While other magazines delivered the girl next door, Harrison’s publications banked on bad girls in satin and leather, fishnet stockings, and six-inch heels performing slapstick stunts straight from the burlesque stage.

Harrison lured his readers in with vibrantly painted covers by top pin-up artists Earl Moran, Billy DeVorss and, most famously, Peter Driben. This Bibliotheca Universalis edition celebrates this eye-catching candy with every single cover from Beauty Parade, Wink, Titter, Eyeful, Flirt, and Whisper, from 1942 to 1955, as well as interior spreads, featuring, among others, a budding Bettie Page. In an age when far more graphic material is the norm, 1000 Pin-Up Girls celebrates an era of pin-up and pulp style to fuel your erotic imagination.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

Adolf Born je obdivovatel rakousko-uherské monarchie i tureckých sultánů, milovník vína, umění, kejklířů, alchymistů, faunů a kentaurů, přítel zvířat i sběratel klobouků a čepic, jehož vášní je cestování, ale především je Adolf Born karikaturista, grafik a malíř světového formátu. Jeho obrazy plné humoru, ironie, nadsázky, fantastických představ a překvapivých metafor milují děti i dospělí. Reprezentativní výběr dávných, novějších, ale hlavně nejnovějších ukázek z Bornovy volné tvorby vás zve slovy Miloše Macourka „do světa, v němž je přítomen nejen humor, ale i nostalgie, tajemství a také kapka hrůzy, ale především závratný pocit svobody, neboť v tomto beztížném prostoru je možné všechno, o čem dokážete snít“. Knihu doplňuje obsáhlé, bohatě ilustrované Kalendárium, které rok po roce zachycuje život i všechny aktivity umělce – a že jich není málo, jak konstatoval Ivan Kraus: „Soudě podle toho, kolik Adolf Born ilustroval knih, na kolika filmech a seriálech se podílel, kolik vytvořil litografií, kdy a kde všude vystavoval, řekl bych, že za posledních třicet let nejedl ani nespal.“ A přidejme, za posledních šedesát let. Publikace vychází k Mistrovým osmdesátinám.

Often wryly funny and just as smart, Albert Oehlen’s paintings play the medium for all it's worth - and then some. After realizing that the so-called death of painting freed him to explore "the number of aspects through which one could expand painting," Oehlen started work on a wide variety of figurative and non-objective offerings, in what he has called his "post-non-figurative" art. The artist continuously challenges himself, setting up rules that force him to overcome convention and his own routine in order to arrive at a satisfying image. During his career, he has chosen to paint in primary colours only or in grey, to integrate mirrors into his canvases, or to start on computer paintings when the first PCs became available. In his most recent work, Oehlen expands painting through the use of advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humour, his work seems to be winking at us as it dares us to change the way we perceive an image.

This XL monograph covers the entire scope of Oehlen’s oeuvre: Roberto Ohrt discusses the early years when Oehlen came into his own alongside Kippenberger, Büttner, and others, part of a scene that broke rules in art and rock music. Klaus Kertess examines the years from 1988 onwards, when Oehlen saw himself more self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium. Martin Prinzhorn and John Corbett take a close look at aspects of Oehlen’s iconography, and Oehlen discusses his computer paintings in a conversation with Corbett. An exhaustive biography and bibliography round out this comprehensive study. While Oehlen fans will rejoice at the publication of this breathtaking book, no one with an interest in contemporary art should pass up this unique opportunity to discover Oehlen’s remarkable body of work.

Alberto Giacometti forged a singular path within European Modernism, restlessly seeking a new language for sculpture as a double of reality. Presenting some 100 sculptures and paintings, the publication tracks the evolution of Giacometti’s work from Post-Cubism through Surrealism to post-war Realism.

Throughout his life, Alberto Giacometti (1901–1966) was in conversation with some of the most influential intellectuals of the twentieth century. By highlighting three writers – Georges Bataille, Jean Genet, and Samuel Beckett, with whom the artist sustained lasting friendships – the publication examines how these dialogues may be traced in Giacometti’s oeuvre.

The lavishly illustrated book not only provides an overview extending from his early to his later works, and newly commissioned essays but also presents important historical texts by the three authors and the artist himself.

145 илл.

Настоящее издание – это полный каталог проектов современного русского художника Александра Константинова, созданные им для городских и ландшафтных пространств в 2002–2006 годах. Разработав свой собственный стиль и язык в искусстве, Константинов занимает особое место на современной художественной сцене. Его грандиозные произведения требуют нового пространственного опыта и культурно-исторического контекста, расширяя географию современного русского искусства. Уникальная интегрированность его работ в окружающую среду ставит их на самую границу между изобразительным искусством и архитектурой. Трудно представить собранные в книге произведения в контексте какой­либо выставки, настолько они самодостаточны. Но если посмотреть на настоящее издание как на каталог выставки, то ее экспозиционными залами мог бы стать весь мир.

This book contains all of the diaries, programs, essays, and major articles written by Alexander Rodchenko between 1911 and 1956.

The word "experiment" was a keyword for the artist, who conceived of his multimedia oeuvre as one huge experiment. Referred to by his friends and contemporaries as "a scout of the future," Rodchenko sought new paths in graphic design and painting, sculpture and architecture, poster design and cinema, photography and book design, and furniture and theatre design.

The first chapter in this volume covers the early life of Rodchenko and relates to the time of his studies in the Kazan art school. His diaries from 1911-15 relate the vivid atmosphere of the school, explain the artist's early tastes for theatrical, oriental and medieval motifs, and recall the moments when he first met Varvara Stepanova, his lifetime partner and fellow artist.

The second chapter covers the most active years of the Russian avant-garde movement: 1916-21. Here Rodchenko is linked to Vladimir Tatlin and his evolution as a non-objective painter comes about. His writings from this period explore his interest in the artistic process, in the way ideas are born, and often make comparisons with other artistic trends of the time: suprematism, cubism, and impressionism.

The third chapter runs through the 20s and the height of the constructivist movement, when Rodchenko became one of the leading designers of the time. This chapter is the most comprehensive, featuring writings dedicated to industrial design education, graphic design, advertising, photomontage and photography.

The fourth chapter reveals the artist's mood and the general Soviet culture situation of the 30s, a time of political change, accusations of formalism, and great success in photography.

The last chapter is dedicated to the war and postwar period and contains only diary texts in which the artist recounts his family's evacuation to the country, his subsequent hard living and working conditions, as well as his musings on the cultural politics of the time and life in general.

Originally published in 1996 in Moscow by Rodchenko's family, Experiments for the Future appears here in its first English edition. This new edition contains additional material and features a different design and images, but the content remains essentially unchanged.

Alex Katz's long-standing fascination with dance and collaborations with renowned playwrights and choreographers yielded some of his most complex compositions.

Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same “long tradition of gestures” as painting. This publication is the first to examine the many decades of Katz’s work for the stage, including the ways that he introduced tenets of postwar painting into theater and dance aesthetics.

“I’d never seen anything like it,” Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons.

Among Katz’s most celebrated sets is the ensemble of cutouts he created for Kenneth Koch’s 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz's working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s.

About the Authors:

Diana Tuite served as the Katz Curator of Modern and Contemporary Art at the Colby College Museum of Art in Waterville, Maine. Charles L. Reinhart served as the longtime director of the American Dance Festival. David Salle is an American painter, printmaker, photographer, and stage designer. Jennifer Tipton is an award-winning American lighting designer. Robert Storr is an American curator, critic, painter, and writer. Jacqueline Terrassa is the Carolyn Muzzy Director of the Colby College Museum of Art.

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Twentieth-century American society wittily and ironically portrayed by a great artist. Norman Rockwell (1894–1978), one of the most popular American artists of the past century, has often been regarded as a simple illustrator and had his work identified with the covers of the Saturday Evening Post. He is, instead, a total artist. An acute observer of human nature and talented storyteller, Rockwell captured America’s evolving society in small details and nuances, portraying scenes of the everyday life of ordinary people and presenting a personal and often idealized interpretation of the American identity. His images offered a reassuring visual haven in a period of epoch-making transformation that led to the birth of the modern American society.

The art of Norman Rockwell entered the homes of millions of Americans for over fifty years, illustrating the Roaring Twenties, the Depression, World War II, and the 1950s and 1960s. His works mirror aspects of the life of average Americans with precise realism and often in a humorous light. The exhibition catalog organized in collaboration with the Norman Rockwell Museum of Stockbridge, Massachusetts, presents well-known and beloved masterpieces like the Triple Self-Portrait (1960), Girl at the Mirror (1954), and The Art Critic (1955) alongside carefully observed images of youthful innocence (No Swimming, 1921) and paintings with a powerful social message like The Problem We All Live With (1964).