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Maria Lassnig by Maria Lassnig,Beatrice von Bormann,Antonia Hoerschelmann,Wolfgang Drechsler,Stefanie Proksch-Weilguni,Johanna Ortner Pdf
This volume gathers together paintings, drawings, films, and sculptures by Maria Lassnig (1919-2014) from a creative career that spanned some seventy years. It explains how she thought of herself in relation to the art scene of her time. This multimedia approach makes possible new ways of looking at the artist's multfaceted work. Examples of Maria Lassnig's writings round out this presentation.
Maria Lassnig - Film Works by Eszter Kondor,Michael Loebenstein,Peter Pakesch,Hans Werner Poschauko Pdf
Maria Lassnig (1919-2014) is internationally recognized as one of the most important painters of the twentieth and twenty-first centuries. This publication provides the first comprehensive index of Lassnig's film works, offering insight into the filmmaker's world of ideas through a wide selection of Lassnig's own, previously unpublished notes.
Maria Lassnig: The Paris Years 1960–68 by Lena Mozer Pdf
"Petzel is pleased to present Maria Lassnig: The Paris Years, 1960-68, an exhibition of paintings by the Austrian artist that have rarely been seen in the United States. On view at the gallery's Chelsea location from November 4 through December 17, the show, which includes over 20 important works developed in Lassnig's studio on rue de Begnolet, covers Lassnig's formative years in the City of Light. "Though Maria Lassnig only lived in Paris for eight years, it was in her studio on Rue de Bagnolet that she began to fully release herself from aesthetic constraints and developed a sense of freedom that became synonymous with her name. There, Lassnig took up the various isms she explored in her previous paintings--realism, expressionism, surrealism, tachism--and transformed them into something truly autonomous by simultaneously turning more fully to herself, to her sensations, lived experiences, and physical embodiment," writes Lauren O'Neill-Butler in her essay for the accompanying exhibition catalogue, published by Petzel. Around 1947, as O'Neil-Butler writes, Lassnig "commenced this with drawings called Introspektive Erlebnisse (Introspective Experiences), later developed into Körpergefühlsmalerei (body awareness painting), her term for depicting the parts of her being that she felt as she worked. In Paris, she more fully galvanized a phenomenological approach, developing an awareness that the body and mind are not separate, that whatever manifests on the skin is directly related to one's thoughts. Lassnig's turning inward to propel outward became something of a signature style, though her art could never be so neatly pinned down. A line from her 1951/1960 text Painting Formulas sums it up: "Discard the style! You exploit yourself soon enough." The varied and vital canvases that she made in Paris evince that she was coming into her own, finding her voice, and shedding expectations--you exploit yourself soon enough, so why not put everything on the line, right now? In doing just that Lassnig established her own tradition. Lassnig left Vienna for Paris at a time when she felt there was not space for her in the city's male-dominated art circles, she proceeded to hold court with contemporaries in France until leaving for her next significant stay, her 12-year residence in New York. There has yet to be much scholarship on this period of Lassnig's life and work in Paris, and Petzel is pleased to publish the exhibition catalogue, also titled Maria Lassnig: the Paris Years, 1960-1968, which illustrates a portion of this crucial mid-career moment alongside writings from Lassnig's diaries and letters throughout those years. Additionally, in the Spring of 2022, Petzel will release the English translation of art historian Natalie Lettner's biography on Lassnig, co-published with Hauser & Wirth." -- Petzel gallery website
Maria Lassnig by Hans Ulrich Obrist,Daniela Hammer-Tugendhat,Maria Lassnig,Denys Zacharopoulos Pdf
The exhibition at Municipal Art Gallery of Athens, 2017 is the last exhibition project that Maria Lassnig was able to plan personally with the curator Hans Ulrich Obrist. Around 50 works are on show - paintings and works on paper, especially watercolours - which seize upon motifs from Greek mythology and their expansive and permanent exchange with all Mediterranean civilisations. Although these works by Maria Lassnig are not so well known, they manifest characteristics typical of her work: the awareness of the body, the painterly rendering of the inner and outer world, as well as animal portrayals and landscapes. In an unusual selection from Maria Lassnig's oeuvre the exhibition and the accompanying catalogue with contributions from leading scholars and artists spotlight her unique visual idiom, in which she combines science with a subjective emotional life, and Mediterranean landscapes with figures from ancient mythology. Accompanies the exhibition Maria Lassnig: The future is created from the fragments of the past, 31 Mar - 16 Jul 2017, Municipal Gallery, Athens, Greece.
A massive compendium on the multimedia art of Rashid Johnson, tackling themes of Black history, literature, philosophy and material culture Rashid Johnson (born 1977) is renowned for challenging the assumptions often present in collective notions of Blackness. Based in New York, Johnson is among an influential group of American artists whose work employs a wide range of materials and images to explore themes of art history, literature, philosophy, and personal and cultural identity. After beginning his career working primarily in photography, Johnson has expanded into a variety of mediums, including text work, sculptural objects, installation, painting, drawing, collage, film, performance and choreography. Drawing on a dizzying array of historical, cultural, literary and musical references, Johnson ultimately invites audiences to find connections to their own lives. Rashid Johnson: The Hikers presents works from his highly acclaimed shows at the Aspen Art Museum, Museo Tamayo and Hauser & Wirth. This dynamic and unprecedented collection of his work features a conversation between Rashid Johnson and choreographer Claudia Schreier, as well as essays by curators Heidi Zuckerman and Manuela Moscoso.
Maria Lassnig by Maria Lassnig,Robert Storr,Paul McCarthy,Jennifer Higgie Pdf
Born in 1919, Viennese artist Maria Lassnig--who coined the phrase "body-awareness painting"--uses bold forms and strong colors to create portraits and semi-figurative abstractions. This volume, with texts by Robert Storr, Jennifer Higgie and Paul McCarthy, includes a selection of sensational, fresh and vibrant works from the last three years.
Maria Lassnig: The Biography by Natalie Lettner Pdf
Maria Lassnig’s biography documents her boundary-breaking journey as an artist, from her humble beginnings in Austria to her exposure to international art in the 1940s, and on to New York, where, together with Louise Bourgeois, she plunged into the exploding women’s movement there. Later in life she returned to Austria, she became the first woman professor of painting in the German-speaking countries Lassnig caused a sensation with numerous solo exhibitions, from the Venice Biennale to the Documenta to the MoMA in NY. Lassnig’s story is both exemplary and extraordinary for a woman of her generation—exemplary in terms of the hurdles and pitfalls that women in general, and female artists in particular, had to face in those years. She struggled her whole life against the usual stereotypes about women: in her youth, against her mother’s desire that she “marry up”; in relationships with men, against the requirement of putting her own needs aside to nurture and care for her partner’s ego; in the art business, against having to play the role of the sweet and pretty girl; as a university teacher, against having to play the “mother figure”; and as an old woman, against the image of “odd old lady” and the “grande dame.” Even though she herself wanted to be an artist, not a female artist, her life story is extraordinary because she was finally, despite it all, able to assert herself as an artist and a woman due to her outstanding talent, her persistence, and her single-mindedness.
A self-professed "comprehensive anticipatory design scientist," the inventor Buckminster Fuller (1895-1983) was undoubtedly a visionary and his creations often bordered on the realm of science fiction. You Belong to the Universe documents Fuller's six-decade quest to "make the world work for one hundred percent of humanity." Critic and experimental philosopher Jonathon Keats sets out to revive Fuller's unconventional practice of comprehensive anticipatory design, placing Fuller's philosophy in a modern context and dispelling much of the mythology surrounding Fuller's life. Keats argues that Fuller's life and ideas, namely doing "the most with the least," are now more relevant than ever as humanity struggles to meet the demands of an exploding world population with finite resources.
Amor Mundi: The Collection of Marguerite Steed Hoffman' delves deep into this remarkable singular collection. Over two volumes, Amor Mundi presents an edited selection of over 400 works of modern and contemporary art from the Collection of Marguerite Steed Hoffman, from the pieces brought together by Marguerite Steed and her late husband Robert Hoffman (1947-2006) to more recent outstanding acquisitions. Over 30 authors - artists and art historians - explore this fascinating collection, addressing specific artworks as well as the motivations behind the collection's creation and ongoing evolution. Created over the course of a two-year period, great care has been taken to reflect the collection's key artists, canonical works, and the issues and debates that have helped shape its direction for more than a quarter of a century. By highlighting the art and artists as well as the ideological principles underlying the collection, it is hoped that Amor Mundi will shed some light on how to interpret this extraordinary collection of modern and contemporary art as well as communicating something about the personality of the woman who assembled it.00Texts by Martin Jay, Renee Green, Susan L. Aberth, Sarah Celeste Bancroft, Renate Bertlmann, Anna Katherine Brodbeck, Susan Davidson, Gavin Delahunty, TR Ericsson, Tamar Garb, Robert Gober, Rachel Haidu, Merlin James, Wyatt Kahn, Ragnar Kjartansson, Anna Lovatt, Leora Maltz-Leca, Nic Nicosia, Charles Ray, Mark Rosenthal, Dana Schutz, Barry Schwabsky, Richard Shiff, Raphaela Simon, Michelle Stuart, Kirsten Swenson, Mary Weatherford, Terry Winters. Interviews by Martin Jay and Marguerite Steed Hoffman, Gavin Delahunty and Isabelle Graw.
*A beautifully illustrated selection of highlights from The Albertina's world-renowned collection of prints, drawings and paintings*Features works from Old Masters as well as celebrated modern artists - from Michelangelo, Rubens and C�zanne to Klimt, Picasso and Warhol*Written from the expert perspective of The Albertina's Director, art historian Klaus Albrecht*Full color illustrations allow each spectacular work to be examined in detailThe largest of the Hapsburg residential palaces, The Albertina in Vienna provides a stunning home to one of the largest and most important print rooms in the world. Named after its founder, passionate art collector Duke Albert of Saxe-Teschen (1738-1822), the priceless collection comprises 50,000 drawings and watercolors and some 900,000 prints ranging from the late Gothic period to contemporary art.Here visitors can see world-famous works by da Vinci, Michelangelo and Raphael as well as D�rer, Rubens, Rembrandt and C�zanne. The modern collection contains a vibrant array of works from a diverse range of artists: from Schiele, Klimt, Picasso and Pollock to Warhol, Katz, Baselitz and Kiefer. An extraordinary treasure trove of visual knowledge, The Albertina has also been gathering photographs since the mid-19th century, and holds around 50,000 plans, sketches and models in its Architecture Collection. This small volume showcases the highlights from this vast collection, as chosen by its Director.Follow @AlbertinaMuseum on Twitter (7350 followers).
Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices. "Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started."—The New Yorker
A lively introduction to the rich and diverse history of contemporary art over the past 60 years—from Modernism and minimalism to artists like Andy Warhol and Marina Abramović. Accessible and with lavish illustrations, this is the perfect gift for art history fans and anyone looking for a new, more inclusive perspective on ‘the old boys’ club.’ Encountering a work of contemporary art, a viewer might ask, "What does it mean?" "Is it really art?" and "Why does it cost so much?" These are not the questions that E. H. Gombrich set out to answer in his magisterial The Story of Art. Contemporary art seems totally unlike what came before it, departing from the road map supplied by Raphael, Dürer, Rembrandt, and other European masters. In The Story of Contemporary Art, Tony Godfrey picks up where Gombrich left off, offering a lively introduction to contemporary art that stretches from Andy Warhol’s Brillo boxes to Marina Abramović’s performance art to today’s biennale circuit and million-dollar auctions. Godfrey, a curator and writer on contemporary art, chronicles important developments in pop art, minimalism, conceptualism, installation art, performance art, and beyond.
Replete with complexities, abjection, beauty and joy, Women Painting Women offers new ways to imagine the portrayal of women, from Alice Neel to Jordan Casteel A thematic exploration of nearly 50 female artists who choose women as subject matter in their works, Women Painting Women includes nearly 50 portraits that span the 1960s to the present. International in scope, the book recognizes female perspectives that have been underrepresented in the history of postwar figuration. Painting is the focus, as traditionally it has been a privileged medium for portraiture, particularly for white male artists. The artists here use painting and women as subject matter and as vehicles for change. They range from early trailblazers such as Emma Amos and Alice Neel to emerging artists such as Jordan Casteel, Somaya Critchlow and Apolonia Sokol. All place women--their bodies, gestures and individuality--at the forefront. The pivotal narrative in Women Painting Women is how the artists included use the conventional portrait of a woman as a catalyst to tell another story outside of male interpretations of the female body. They conceive new ways to activate and elaborate on the portrayal of women by exploring themes of the Body, Nature Personified, Selfhood and Color as Portrait. Replete with complexities, realness, abjection, beauty, complications, everydayness and joy, the portraits in this volume make way for women artists to share the stage with their male counterparts in defining the image of woman and how it has evolved. Artists include: Rita Ackermann, Njideka Akunyili Crosby, Emma Amos, María Berrío, Louise Bonnet, Lisa Brice, Joan Brown, Jordan Casteel, Somaya Critchlow, Kim Dingle, Marlene Dumas, Celeste Dupuy-Spencer, Nicole Eisenman, Tracey Emin, Natalie Frank, Hope Gangloff, Eunice Golden, Jenna Gribbon, Alex Heilbron, Ania Hobson, Luchita Hurtado, Chantal Joffe, Hayv Kahraman, Maria Lassnig, Christiane Lyons, Danielle Mckinney, Marilyn Minter, Alice Neel, Elizabeth Peyton, Paula Rego, Faith Ringgold, Deborah Roberts, Susan Rothenberg, Jenny Saville, Dana Schutz, Joan Semmel, Amy Sherald, Lorna Simpson, Arpita Singh, Sylvia Sleigh, Apolonia Sokol, May Stevens, Claire Tabouret, Mickalene Thomas, Nicola Tyson and Lisa Yuskavage.
"Focusing on Lassnig's elaborations of the self-portrait and her exploration of her relations with the object, animal and machine, is new catalogue presents works from 1942 until recent years. Lassnig's main preoccupation was a relentless self-questioning, one she subjected herself to throughout her life. Her self-portraits manage to be informal and are expressed in traumatic, Surrealist forms that merge the human with the animal, the human with the machine. The catalogue contains a selection of 45 paintings, most of them from the artist's studio, as well as a selection of watercolours and videos, plus letters, photos, drawings, writings and material from her personal and work archives." -- Provided by publisher