Stefan Gierowski is a prominent representative of contemporary avant-garde painting, described as a classic of Polish modernity.0Skira is proud to present his first international monograph in conjunction with the Foundation Stefan Gierowski. The monograph features essays by David Anfam (writer, curator and leading authority on American modern art), Michel Gauthier (curator at the Centre Pompidou, Paris) and Stach Szablowski (independent curator, art critic and columnist)
Accompanying an exhibition at BASTIAN, London, this striking publication presents works by the German-born American artist Hans Hofmann (1880-1966), produced at the end of the Second World War and immediately afterwards.
An exclusive look at the late work of one of the most influential and enigmatic painters, whose late-career paintings are virtually unknown to the public and many are published here for the first time. číst celé
The first international publication dedicated to the Polish painter, graphic designer, poster artist, and sculptor. Fangor received scholarships from the Institute for Contemporary Art in Washington, DC (1962) and the Ford Foundation in West Berlin (1964-65). In 1965-66, he taught at the Bath Academy of Art in Corsham, Wiltshire, England, and from 1966-83, he led classes at Farleigh Dickinson University in Madison, N.J. in the United States. In 1967-68, he conducted guest lectures at the Faculty of Architecture at the Graduate School of Design, Harvard University, Cambridge, Massachusetts. In 1970, he created sets for the Martha Graham Dance Company. In 1978, he received the Alfred Jurzykowski Foundation Award, and in 2003, he was awarded The Minister of Culture of the Republic of Poland Award.
First published to accompany the exhibition, John Golding: Pure Colour Sensation at Piano Nobile gallery, this fully colour illustrated catalogue showcases fifteen years of exceptional paintings by John Golding from the 1970s and 1980s with an introductory essay by acclaimed art historian and curator Dr David Anfam.
An astute, beautifully illustrated examination of the recently restored touchstone of modern art Jackson Pollock’s major early work Mural (1943) was commissioned by Peggy Guggenheim for the entrance hall of her East 61st Street New York residence. Mural-sized, though not actually a mural—the work is painted on a six-meter-long canvas, not directly onto the wall—this vast, frieze-like panorama would be hugely influential in twentieth-century American art. In Jackson Pollock's Mural: Energy Made Visible, David Anfam explores the painting and its impact by way of the different themes it incorporates, including the imagery of action and process, the big picture, the “gothic,” the body, dance, and Romanticism, relating them to art historical precedents, Abstract Expressionism, Pollock’s psychology, and the context of American art and culture in the pre- and postwar years. This analysis is accompanied by reproductions of Pollock’s work as well as imagery from the period that sheds light on the artist’s development. Gifted to the University of Iowa Museum of Art in 1948, Mural has rarely traveled, and it is now the focus of a traveling exhibition curated by Anfam. This accompanying volume offers crucial analysis and historical background on one of Pollock’s most significant works.
Renowned for his evocative and highly-charged imagery, British artist Christopher Le Brun's new work builds upon a wide cultural literacy, from Virgil and Tennyson to William Walton. Following his appearance in many international group exhibitions - such as the influential Zeitgeist exhibition at the Martin-Gropius-Bau, Berlin (1982) - Le Brun became recognised as one of the leading young European painters, and is currently the President of the Royal Academy, London. Accompanying a solo exhibition at Friedman Benda, New York (11 September-18 October 2014), New Paintings shows an abundance of energy and Le Brun's renewed pleasure in colour and light. Alongside full-colour illustrations, this volume includes a personal response by artist and writer Edmund de Waal, and an introduction by art historian David Anfam that places the work within the tradition of late twentieth and early twenty-first century modern painting.
Die Gemälde von Koen van den Broek (*1973 in Bree) bestechen durch einen ganz eigenen Ausschnitt. Den Blick nach unten gerichtet, wandert der Künstler mit den Augen die Oberflächen der Welt ab und wendet alle Aufmerksamkeit dem Grund zu. Himmel und Licht erscheinen in seinen Arbeiten lediglich ex negativo als schwarze Schlagschatten, dafür aber umso gewaltiger. Angesichts belangloser Fassaden, leerer Autobahnen, geschlossener Garagen oder trostloser Bordsteinkanten findet Broek Bildideen, die er in Fotografien festhält, um dann Ölbilder auf Leinwand daraus zu gestalten. Die Komposition bleibt die gleiche wie auf den Fotos, doch Pinselstrich und Farbauftrag erschaffen eine neue Realität. Die Publikation stellt die monumentalen Gemälde des Zyklus Insomnia vor, die nach Streifzügen durch Antwerpen entstanden, und die kleineren, intim nuancierten Malereien von Greenhouse, entstanden während eines Aufenthalts im New Yorker Stadtteil Williamsburg. Ausstellungen: Friedman Benda, New York ab Februar 2013 | Und weitere Stationen
Max Beckmann (1884-1950) moved to the United States in the late summer of 1947. He would spend the last three years of his life far away from Europe, years that signified a liberating, intense new start for him. The vastness of the foreign continent, its coasts, the atmosphere of its „wild“ landscapes, and its big cities all formed a palpable source of inspiration for Beckmann, who had never before had this type of physical experience of space. Working with incredible energy and productivity, Beckmann produced numerous major works in these few short years. From today's perspective, Beckmann's independence is all the more impressive when seen in relation to the development of abstract art that was taking place in America at the same time. Beckmann retained his link to representationalism and its metaphorical themes, yet still managed to assert himself as a European painter of international status. (German edition ISBN 978-3-7757-2984-0) Other publications are available in the Art to Hear series (German edition ISBN 978-3-7757-2986-4; English edition ISBN 978-3-7757-2987-1)Exhibition schedule: Städel Museum, Frankfurt am Main, October 7, 2011-November 8, 2012
Seit dem Spätsommer 1947 lebte Max Beckmann (1884-1950) in den Vereinigten Staaten von Amerika. Weit entfernt von Europa sollte er seine letzten Lebens- und Schaffensjahre verbringen, die einen befreienden, intensiven Neuanfang bedeuteten. Zu einer Inspirationsquelle Beckmanns wurden die nie zuvor erlebte räumliche Weite des fremden Kontinents, seine Küsten und die Atmosphäre seiner 'wilden' Landschaften ebenso wie die Welt der Metropolen. Mit einer unglaublichen Energie und Produktivität schuf der Künstler in dieser kurzen Zeit zahlreiche Hauptwerke. Beckmanns eigenständige Bildsprache erscheint aus heutiger Sicht umso eindrucksvoller, je mehr man sie in Relation zur gleichzeitigen Entwicklung der Abstraktion in der amerikanischen Kunst betrachtet: Beckmann bleibt dem Figürlichen und seiner metaphorischen Thematik verbunden und behauptet sich als europäischer Maler von internationalem Rang. (Englische Ausgabe ISBN 978-3-7757-2985-7) Begleitend erscheinen auch Bände in der Reihe Kunst zum Hören (deutsche Ausgabe ISBN 978-3-7757-2986-4; englische Ausgabe ISBN 978-3-7757-2987-1)Ausstellung: Städel Museum, Frankfurt am Main 7.10.2011-8.1.2012
