Книги про современное искусство

The century that changed art forever. The quintessential roundup of art from 1900-2000

Who could possibly have forecast on New Year’s Eve 1899 that, one hundred years later, painting and sculpture would be only options, not prerequisites? The term "art" has been defined and redefined so many times over the last 100 years that it has gained entirely new social, political, and technological meanings.

Ranging across the full spectrum of disciplines available, including photography and new media, and thematically chaptered to highlight relationships between works and movements, this readable and encyclopedic masterwork does just what it says on the cover.

Whether you want Surrealism or Land Art, Fluxus or Bauhaus, this is your be-all, end-all guide to the art of the 20th century. An undertaking as immensely ambitious as this one deserves to be owned by everyone.

Искусство ХХ века. От Климта к Джеффу Куну, и те кто между, - все они здесь! 

Кто бы мог представить в канун Нового, 1899 года, что столетие спустя, живопись и скульптура будут всего лишь возможным, а не необходимым условием для объекта, считающегося искусством. Сам термин "искусство" был определен и переопределялся столько раз за последние сто лет, что приобрел новые социальные, политические и технологические значения. Построенная на полном спектре видов искусства включая фотографию и новое медиа искусство и тематически разделенная на части, чтобы показать связь между работами и направлениями, эта легкая для прочтения, и все же энциклопедическая книга значит именно то, что на ней написано, и что бы вы ни хотели найти - сюрреализм или лэнд арт, Флуксус или Баухаз - это ваш путеводитель по искусству ХХ века.

Искусство ХХ века.

От Климта к Джеффу Куну, и те кто между, - все они здесь!
Кто бы мог представить в канун Нового, 1899 года, что столетие спустя, живопись и скульптура будут всего лишь возможным, а не необходимым условием для объекта, считающегося искусством. Сам термин "искусство" был определен и переопределялся столько раз за последние сто лет, что приобрел новые социальные, политические и технологические значения. Построенная на полном спектре видов искусства включая фотографию и новое медиа искусство и тематически разделенная на части, чтобы показать связь между работами и направлениями, эта легкая для прочтения, и все же энциклопедическая книга значит именно то, что на ней написано, и что бы вы ни хотели найти - сюрреализм или лэнд арт, Флуксус или Баухаз - это ваш путеводитель по искусству ХХ века.

Who could possibly have forecast on New Year's Eve 1899 that, one hundred years later, painting and sculpture would be only options, not prerequisites? The term "art" has been defined and redefined so many times over the last 100 years that it has gained entirely new social, political, and technological meanings.

Ranging across the full spectrum of disciplines available, including photography and new media, and thematically chaptered to highlight relationships between works and movements, this readable and encyclopaedic masterwork does just what it says on the cover. Whether you want Surrealism or Land Art, Fluxus or Bauhaus, this is your be-all, end-all guide to art of the 20th century.

An undertaking as immensely ambitious as this one deserves to be owned by everyone, which is why we decided to make a special, more compact edition of this two-volume classic in celebration of our 25th anniversary.

About the author:
Klaus Honnef is honorary professor of photography theory at the Kassel Art Academy. He was one of the organizers of documenta 5 and documenta 6 in Kassel, and has been the curator of more than 500 exhibitions in Germany and abroad. He has written numerous books, including TASCHEN’s Contemporary Art (1988), Andy Warhol (1989), and Pop Art (2004).

About the editor:
Ingo F. Walther (1940-2007) was born in Berlin and studied medieval studies, literature, and art history in Frankfurt am Main and Munich. He has published numerous books on the art of the Middle Ages and of the 19th and 20th centuries. Walther's many titles for TASCHEN include Picasso, Art of the 20th Century, and Codices Illustres.

Through clothing, we celebrate or suppress identity, indicate allegiances and communicate our positions, aspirations and desires. Little wonder, then, that so many contemporary artists are invested in exploring the role of clothing in the construction of self and society. Aware: Art Fashion Identity reflects on these artists and their work, and what it says about our physical covering and our constructed personal environments. Essayists Gabi Scardi, Lucy Orta and Joanne Entwistle consider issues of belonging, nationality, displacement and political and social confrontation in the artwork of Yinka Shonibare, Sharif Waked, Alicia Framis, Meschac Gaba, Dai Rees and Vito Acconci. Personal accounts of the role of clothing are drawn out through the work of Helen Storey, Marie-Ange Guilleminot and Claudia Losi, while the art and designs of Hussein Chalayan, Gillian Wearing and Andreas Gursky offer a platform for a discussion of the connection between fashion, clothing and performance.

Born in Belgrade in 1946, Marina Abramovic´ pioneered the use of performance as a visual art form. The body has always been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion, and danger in the quest for emotional and spiritual transformation. Abramovic´ is concerned with creating works that ritualize the simple actions of everyday life, such as lying, sitting, dreaming, and thinking-each in effect the manifestation of a unique mental state. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic´ created some of the most historically important early performance pieces and is the only one still making important durational works.

Returning from a series of performances titled Seven Easy Pieces held in November at the New York Guggenheim Museum, Marina Abramovic´ presents her new work, Balkan Erotic Epic. The artist describes it as follows: "Balkan Erotic Epic is based on my research into Balkan Folk Culture and its use of the erotic. Through eroticism, the human tries to make himself equal [to] the gods. In folklore, the woman marrying the sun or the man marrying the moon is to preserve the secret of the creative energy and get in touch through eroticism with indestructible cosmic energies. People believed that in erotic energy there was something superhuman that doesn't come from [them] but from the higher forces. Obscene objects and male and female genitals have a very important function in the fertility and agricultural rites of Balkan peasants. They were used very explicitly for a variety of purposes. Women would show in the rituals openly their vaginas, bottoms, breasts and menstrual blood. Men would show openly in the rituals their bottoms and penises in acts of masturbation and ejaculation."

The monograph, catalogue of the exhibition held at the Bicocca Hangar in Milan, presents six works by the artist, considered by international critics to be one of the outstanding artists of our times: the new Balkan Erotic Epic together with five other video installations, Balkan Baroque (the extraordinary performance/installation presented and awarded the Leone d'Oro at the 1997 Venice Biennale), The Hero, Count on Us, Tesla Urn and Nude with Skeleton.

Introduced with a text by Adelina von Fürstenberg, the book includes essays by Fulvio Salvadori and Steven Henry Madoff, followed by the works, by a conversation on Balkan Erotic Epic between Fredrik Carlström and Marina Abramovic´ and by an interview with the artist by Jeanette Fischer.

Basquiat first came to prominence when he collaborated with Al Diaz to spray-paint enigmatic statements under the pseudonym SAMO©. He went on to work on collages, Xerox art, postcards, performances, and music before establishing his reputation as one of the most important painters of his generation.

Accompanying a major exhibition at the Barbican Art Gallery, this book opens with introductory essays from the curators, which place his practice in a wider art historical context and look at his career through the lens of performance. Six thematic chapters offer new research, with essays from poet Christian Campbell on SAMO©; curator Carlo McCormick on New York / New Wave; writer Glenn O’Brien on the downtown scene; academic Jordana Moore Saggese on Basquiat’s relationship to film and television; and music scholar Francesco Martinelli on Basquiat’s obsession with jazz.

This insightful new survey also features extended captions, rare archival material, and extensive photography, demonstrating how Basquiat’s legacy remains more powerful and relevant than ever today.

About the Author:

Dieter Buchhart is an art critic for Kunstforum International and the author of Keith Haring: The Political Line

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Пролистать книгу Basquiat: Boom for Real

Charles Saatchi, co-founder of Saatchi & Saatchi advertising agency, has become one of the world’s leading collectors of contemporary art and opened his first gallery in a former paint factory at Boundary Road in 1985. His patronage of the group which became known as the Young British Artists sparked an explosion of controversy, particularly with the Sensation exhibition at the Royal Academy in 1997.

In 2008 he opened the 70,000 square foot Saatchi Gallery on the King’s Road in London, one of the largest and most visited showcases for contemporary art in the world. Advertising and art, however, are not his only concerns.

Charles Saatchi is a man with strong opinions on everything from movies to morals, superstition to suicide, and in this book he answers nearly 300 questions from readers and journalists, offering much for everyone to reflect on.

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.

Carlos Cruz-Diez (Caracas, 1923) promotes experimentation with color and is one of the most relevant examples of the Kinetic Art Movement. The catalogue covers Cruz-Diez´s career including his beginnings as a graphic designer. The 1950s and 1960s are presented through a carefully selected group of unedited documents including magazines and catalogues that he illustrated and designed during that time period. This chapter in Cruz Diez´s career directly correlates with his unique artistic language, which he continues to apply in his works today. The catalogue illustrates almost thirty works by Carlos Cruz-Diez. Their presentation takes into account the original series in which they were first exhibited. These series allow insight into the artist´s personal concept and organization of his body of work. At the same time, the series reflect his incredible ambition and eagerness to experiment. His invented jargon stands out in all of the series with titles so typically Cruz-Diez such as Chromatic induction , Physichromie Chromosaturation .

'Carlos Cruz-Diez: Colour Happens' is the title of the first individual Spanish exhibition, an official institution, dedicated to the work of Carlos Cruz-Diez (Caracas, 1923). His work has been present in the greatest European exhibitions dedicated to Kinetic Art since the 60's, as well as in the most important collective exhibitions devoted to Latin American art. Carlos Cruz-Diez has worked in many of the most dignified museums worldwide, including, Musee National d'Art Modern Centre Georges Pompidou in Paris, of which loaned works of Cruz-Diez for this exhibition, as with the private Foundation Allegro, the Altelier Cruz-Diez and MUGAB (Diputation of Alicante).

Fabric monuments

In the summer of 1995, the Reichstag building in Berlin was transformed into an immense sculptural experience by Christo and Jeanne-Claude along with a team of hundreds of workers.

Using fabric materials has become a famous tradition for Christo and Jeanne-Claude: landscape projects in the USA, Japan, and Australia and urban projects such as the Pont Neuf Wrapped in Paris have established them as the most extraordinary artist couple of the age.

This in-depth survey of their unusual work is illustrated with absorbing photographs by Wolfgang Volz.

About the Series:
Each book in TASCHEN’s  Basic Art Series  features:

• a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
• a concise biography
• approximately 100 colour illustrations with explanatory captions

The photographer:
Wolfgang Volz has worked with Christo and Jeanne-Claude as the exclusive photographer of their works since 1971. He was also project director (with Roland Specker) for Wrapped Reichstag and (with Josy Kraft) for Wrapped Trees, and was in charge of The Wall - 13,000 Oil Barrels, 1999. His close collaboration has resulted in many books and more than 300 exhibitions in museums and galleries around the world.

The author:
Jacob Baal-Teshuva, born 1929, is author, critic and independent curator of museum shows. He studied at the Hebrew university in Jerusalem and the New York University. His numerous publications include works on Marc Chagall, Alexander Calder, Jean-Michel Basquiat, Andy Warhol and Christo and Jeanne-Claude. Jacob Baal-Teshuva lives and works in New York and Paris.

The life and work of Christo and Jeanne-Claude, in a book designed by Christo himself

"Nobody discusses a painting before it has been painted. Our projects are discussed and argued about, pro and con, before they are realized."  - Christo

The work of the artists Christo and Jeanne-Claude transcends borders, resists categorizing, and embraces contradiction. This is the only large-format book that includes all of their projects, from Christo and Jeanne-Claude's works from 1958 to urban and rural temporary works of art, such as The Gates in Central Park, the Wrapped Reichstag in Berlin, and Running Fence in California. Part biography, part critical analysis, part catalogue, the book has a lively text by the critic Paul Goldberger that traces both the lives and the works of an artist couple who established a category all their own: a category somewhere between conceptual art, urban planning, architecture, politics, engineering and art.

This volume gives a detailed overview of the life and work of Christo and Jeanne-Claude, from early drawings and family photos to plans for future projects. It features hundreds of previously unpublished photographs, drawings and plans for realized works, an incisive and detailed history spanning the entire oeuvre, and in-depth interviews, in a lavish edition designed by Christo himself. In addition to a thorough photographic documentation of all of Christo and Jeanne-Claude's work, the book includes the transcript of a conversation between the artists and Paul Goldberger, the last conversation about her work that Jeanne-Claude had before her death in late 2009. Conceived originally to mark Christo and Jeanne-Claude's 75th birthdays, this book is now an eloquent homage to Jeanne-Claude, and a celebration of the work of two artists whose imagination has affected the landscape of every continent.

Covering all work phases in large-scale reproductions and accompanied by extensive texts as well as production Polaroids and installation photos by Wool himself. Limited to 1,000 copies, each numbered and signed by the artist. Also available in an Art Edition, limited to 100 copies and with an original artwork by Christopher Wool.

In-your-face, achingly simple, deceptively frank, the work of Christopher Wool is so very New York. Though he owes a debt to abstract expressionism and pop art, he completely transcends - even demolishes - these genres. Whether it’s a text-based painting or an abstract spray-painted piece, his work is immediately engaging. Wool questions painting, like many other artists in his generation, but he doesn’t provide any easy answers. “The harder you look the harder you look,” as he titled one of his word paintings, is an excellent example of how he states the obvious whilst provoking us to think deeper about what seems obvious.

Christopher Wool became known in the mid-1980s through allover paintings produced with rubber rollers commonly used to simulate decorative wallpaper patterns on walls. By 1988 he had hit stride with his dry, dead-pan word paintings (“Trbl,” “Riot,” “Sell the House, Sell the Car, Sell the Kids”), while continuing to explore the possibilities of pattern painting. Since the 1990s, he has been developing the painterly qualities of his work, using a mostly black-and-white palette, starting from abstract lines drawn with a spray gun or layered stock images, overpainting silkscreens on linen, wiping out images, with a widening variety of media, a process that can involve photography, silkscreen, and, in the new millennium, also the computer.

Exploring Wool’s work in close to 500 pages, this monograph is exhaustive in scope and depth. All work phases are covered in large-scale reproductions and accompanied by production Polaroids and installation photos by Wool himself. Editor Hans Werner Holzwarth has previously collaborated on several catalogs and artist’s books with Wool. Essays and analyses by Glenn O’Brien, Jim Lewis, Ann Goldstein, Anne Pontégnie, Richard Hell, and Eric Banks make this book a great read as well as a definitive study of the story so far.

A look at the seminal work of this conceptual artist, who photographed her trademark performances and created dramatic narrative collages using the results.

Created in 1975, A Play of Selves is a visual tale of a young woman overwhelmed by her various, conflicting alter-egos and her final triumph over self-doubt. Acted out with sixteen separate characters, the seventy-two photographic assemblages mark Sherman’s earliest explorations of her trademark use of herself as the subject in staged photographs.

Sherman originally shot hundreds of photographs of herself costumed as the various characters in dozens of poses. After cutting out the individual images from black-and-white prints, she used an elaborately formulated, handwritten script to organize the images into the five-act “play.” The piece was first shown in 1975, in Buffalo, New York, where Sherman was a student.

Confessions of a connoisseur

Insiders' tips on how the design art market really works

"Art is about life, the art market is about money."  - Damien Hirst

Whether you're an art fan, aficionado, or collector, this completely unique book should be on your required reading list. Like a textbook for a class given by all of the world's leading experts, Collecting Contemporary Art is the one and only book to teach you everything you ever wanted to know about the contemporary art market. The introduction explains the ABCs of buying art on the primary and secondary markets, at auction, and at art fairs and gives an overview of the world art scene and its social circles. The main body of the book brings together tell-all interviews with the biggest players in the global art market: the Critic (Rimanelli), the Dealer (Boesky, Brunnet/Hackert, Coles, Deitch, Fortes, Gagosian, Gladstone, Glimcher, Hetzler, Lybke, Perrotin, Rosen, Shave, Wirth), the Consultant (Cortez, Fletcher, Heller, Segalot, Westreich), the Collector (Brant, Broad, Habsburg, Joannou, Lambert, Lehmann, Lopez, Paz, Pinault, Rothschild Foundation, Saatchi), the Auction House Expert (Cappellazzo, de Pury, Meyer), and the Museum Curator/Director (Dennison, Eccles, Heiss, Lowry, Peyton-Jones).

Rounding up the book are chapters on the year in art collecting - giving a timeline of the most important annual auctions, exhibitions, fairs, etc. around the world - as well as a glossary of terms every art savvy player should know. The text is illustrated by the work of the hottest artists in today's market, including Matthew Barney, Jean-Michel Basquiat, Damien Hirst, Mike Kelley, Martin Kippenberger, Jeff Koons, Takashi Murakami, Richard Serra, Cindy Sherman, Andy Warhol, Lisa Yuskavage, and many more.

All in all, these elements add up to the equivalent of an invaluable and privileged real-world collector's education - all between the covers of one book.

The author:
Adam Lindemann is a private investor and influential collector of contemporary art and design. In partnership with designer Marc Newson, he re-launched Ikepod, a Swiss watch design company. He also writes a monthly column on collecting for The New York Observer.

"A magazine about the rest of the world" – so reads the celebrated subtitle of the magazine Colors.

With their latest project, the creative minds at Fabrica breathe new life into that motto. In cooperation with Reporters sans Frontières, they used various means to distribute blank notebooks to international graphic designers, illustrators, artists, photographers, and filmmakers – and also, of course, to students in every creative profession.

But it isn’t just creative professionals they have in their sights with the Notebook Project but – much more broadly – people of all ages and social classes and from a wide range of ethnic, religious, and political communities all over the world.

With 3,500 richly illustrated notebooks full of drawings and collages already submitted, the time is right to engage in a provisional stocktaking.

This is done here with a little series of books that selects the best from the works submitted, organizes it thematically, and annotates it professionally.

The result is an attractive invitation to graphic designers and illustrators, who are already increasingly employing traditional graphic techniques, to allow themselves to be stimulated by the variety of styles on offer. For "there is hardly a designer today who isn’t full of enthusiasm for vernacular culture, graffiti, amateurish drawings, and charmingly misused typography" (Gerrit Terstiege, editor in chief of form).

The volume Violence is a frightening demonstration of just how completely the subject of violence dominates the world today.

Violence done by human beings to other human beings, whether in the private sphere of personal relations, in the form of coerced and degrading living conditions, or in the open brutality of war and civil war.

The artistic documents selected here are expressions of that violence, images and signs that represent or indict. By doing so with a creative engagement that seeks to produce a sense of shock and personal involvement in the viewer, they speak implicitly but unmistakably of the dignity of their creators and the injuries they have suffered.