{"title":"Artists' Books","description":"","products":[{"product_id":"17835-taryn-simon","title":"Taryn Simon","description":"\u003cP class=MsoNormal style=\"BACKGROUND: white; MARGIN: 0cm 0cm 10pt\"\u003e\u003cSPAN lang=EN-US style=\"FONT-SIZE: 11pt; FONT-FAMILY: TheSans; COLOR: #222222; mso-bidi-font-size: 13.0pt\"\u003eIn 1936, an American ornithologist named James Bond published the definitive taxonomy\u003c\/SPAN\u003e\u003cSPAN lang=EN-US style=\"FONT-SIZE: 11pt; FONT-FAMILY: TheSans; COLOR: #222222; mso-bidi-font-size: 12.0pt\"\u003e\u0026nbsp;\u003c\/SPAN\u003e\u003cSPAN lang=EN-US style=\"FONT-SIZE: 11pt; FONT-FAMILY: TheSans; COLOR: #222222; mso-bidi-font-size: 13.0pt\"\u003eBirds of the \u003c?xml:namespace prefix = \"st1\" ns = \"urn:schemas-microsoft-com:office:smarttags\" \/\u003e\u003cst1:place w:st=\"on\"\u003eWest Indies\u003c\/st1:place\u003e. Ian Fleming, an active bird-watcher living in \u003cst1:country-region w:st=\"on\"\u003e\u003cst1:place w:st=\"on\"\u003eJamaica\u003c\/st1:place\u003e\u003c\/st1:country-region\u003e, appropriated the name for his novel’s lead character. He found it “flat and colourless,” a fitting choice for a character intended to be “anonymous. . . a blunt instrument in the hands of the government.”\u0026nbsp;\u003cBR\u003eIn\u003c\/SPAN\u003e\u003cSPAN lang=EN-US style=\"FONT-SIZE: 11pt; FONT-FAMILY: TheSans; COLOR: #222222; mso-bidi-font-size: 12.0pt\"\u003e\u0026nbsp;\u003c\/SPAN\u003e\u003cI style=\"mso-bidi-font-style: normal\"\u003e\u003cSPAN lang=EN-US style=\"FONT-SIZE: 11pt; FONT-FAMILY: TheSans; COLOR: #222222; mso-bidi-font-size: 13.0pt\"\u003eField Guide to\u0026nbsp;Birds of the West Indies\u003c\/SPAN\u003e\u003c\/I\u003e\u003cSPAN lang=EN-US style=\"FONT-SIZE: 11pt; FONT-FAMILY: TheSans; COLOR: #222222; mso-bidi-font-size: 13.0pt\"\u003e, Taryn Simon (*1975) casts herself as James Bond (1900–1989) the ornithologist, and identifies, photographs, and classifies all the birds that appear within the twenty-four films of the James Bond franchise. The appearance of many of the birds was unplanned and virtually undetected, operating as background noise for whatever set they happened to fly into. Simon’s ornithological discoveries occupy a liminal space—confined within the fiction of the James Bond universe and yet wholly separate from it. This taxonomy of 331 birds is a precise consideration of a new nature found in an alternate reality. \u003c?xml:namespace prefix = \"o\" ns = \"urn:schemas-microsoft-com:office:office\" \/\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/SPAN\u003e\u003c\/P\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49664372375816,"sku":"9783775740920","price":78.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775740920_a743a78e-21da-48f2-8660-7cac7b4aac40.jpg?v=1744139589"},{"product_id":"53511-david-byrd","title":"David Byrd","description":"\u003cp\u003eIt is a poignant look into the psychological depths of the human mind\u0026mdash;its possibilities and fragility. This is the impressive and sensitive legacy of the painter David Byrd. The artist joined the army during World War II and later worked as an orderly in the psychiatric ward of a Veterans hospital in Upstate New York. From 1958 to 1988, Byrd\u0026rsquo;s keen observation of this world, filled with the crowded histories of its troubled patients, was recorded in the artist\u0026rsquo;s sketches. This publication is a replica of the deeply personal, creative, and revelatory journal examining the human experience and its potential for pain and alienation on the fringe. Byrd\u0026rsquo;s work was not publicly exhibited until 2013, only a few months before his death\u0026mdash;an omission that seems absurd in the face of such a powerful output of artwork expressing the artist\u0026rsquo;s perspective as a veteran himself and his empathy toward those living with psychological trauma.\u003c\/p\u003e\n\n\u003cp\u003eDAVID BYRD (1926\u0026ndash;2013) was an American painter. After serving in World War II he studied at the Ozenfant School of Fine Arts. Rarely seen during his lifetime, his art was deeply shaped by his experience as an orderly working in the psychiatric ward at the Veterans Aff airs (VA) Hospital in Montrose, New York.\u003c\/p\u003e\n\n\u003cp\u003eEXHIBITION\u003cbr \/\u003e\nAnton Kern Gallery, New York\u003cbr \/\u003e\nApril 2\u0026ndash;May 9, 2020\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49755189870856,"sku":"9783775747264","price":44.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775747264_90804a01-7e6e-4d50-a37b-345a7a0bb7aa.jpg?v=1744054053"},{"product_id":"51172-a","title":"A","description":"\u003cp\u003eIn 1958 at the Werkkunstschule in Offenbach, Franz Erhard Walther devised a typographical font without any diagonals. In this artist\u0026rsquo;s book he uses so-called work sets to form a letter on each page, facing a scene from his life between 1954 to 1973 on the opposite page\u0026mdash;an encounter with Reiner Ruthenbeck and \u0026nbsp;J\u0026ouml;rg Immendorff, for example, or his first show at the Museum of Modern Art in New York. Paging through, four sequential \u0026ldquo;work sets\u0026rdquo; make an appearance, including \u0026ldquo;The body draws\u0026rdquo; and \u0026ldquo;Sculptural memory\u0026rdquo;: on the left side, a hand-drawn letter in a mutable yellow, and on the right, a drawing of a recollection originating in his photographic memory. This book, conceived and designed by the artist himself, is itself a work of art.\u003c\/p\u003e\n\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\n\u003cp\u003eFranz Erhard Walther (*1939) first studied at the Werkkunstschule (School of Applied Arts) in Offenbach am Main, and then later attended the Kunstakademie D\u0026uuml;sseldorf (D\u0026uuml;sseldorf Art Academy), where he and fellow students Gerhard Richter and Sigmar Polke studied under Karl Otto G\u0026ouml;tz. Walther lived in New York City between 1967 and 1971. In 1969 he and Dan Flavin exhibited the famous first work set at the Museum of Modern Art.\u003c\/p\u003e\n\n\u003cp\u003e\u0026ldquo;All throughout my life I was fascinated by this idea: that a work could have a plot. With the consequence that the plot itself takes on the character of a work of art.\u0026rdquo;\u003cbr \/\u003e\n\u003cem\u003eFranz Erhard Walther, S\u0026uuml;ddeutsche Zeitung Magazin\u003c\/em\u003e\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49811852558600,"sku":"9783775746038","price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775746038_ab23ba87-b3c0-4763-a1f0-b3eb04b37435.jpg?v=1744037576"},{"product_id":"52764-yan-peiming","title":"Yan Pei-Ming","description":"\u003cp\u003eThe first place the twenty-year-old Yan Pei-Ming visited in France in 1980 was Ornans, the birthplace of the French Realist Gustave Courbet. Thirty-nine years later, he takes the 200th anniversary of the birthday of his hero as an opportunity to show monumental reverence toward him and his masterpiece, An Interment in Ornans (1849\/50) at the Mus\u0026eacute;e d\u0026rsquo;Orsay. Yan Pei-Ming transforms and translates this scene into a contemporary Interment in Shanghai, the city where he grew up, and where his mother is buried. The artist\u0026rsquo;s book documents this undertaking in 290 divisible fragments. When assembled, they form the painting in its original size, which is more than six meters wide and three meters high.\u003c\/p\u003e\n\n\u003cp\u003eYAN PEI-MING (*1960, Shanghai) grew up during the Cultural Revolution in China. In 1980 he went to France to study at the \u0026Eacute;cole des Beaux-Arts in Dijon. He has had solo shows at the Ullens Center for Contemporary Art, Beijing; the Mus\u0026eacute;e du Louvre; and at the David Zwirner Gallery in New York. He also participated in the Biennials in Venice (1995, 2003), Seville (2006), and Istanbul (2007).\u003c\/p\u003e\n\n\u003cp\u003eEXHIBITION\u003cbr \/\u003e\nMus\u0026eacute;e d\u0026rsquo;Orsay, Paris\u003cbr \/\u003e\n​October 1, 2019\u0026mdash;January 19, 2020\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49755200422152,"sku":"9783775746854","price":60.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775746854_bf3a0bb2-315a-4538-a828-69425d341446.jpg?v=1744150143"},{"product_id":"43428-taryn-simon","title":"Taryn Simon","description":"\u003cp\u003eIn her monograph, \u003cem\u003eAn Occupation of Loss,\u003c\/em\u003e artist Taryn Simon creates a detailed record of her years researching professional mourning, which culminated in a seminal performance at the Park Avenue Armory in 2016. During the installation, professional mourners from around the world simultaneously broadcast their lamentations within a monumental sculptural setting, enacting rituals of grief. The installation combined performance, sound, and architecture to consider\u0026nbsp;the anatomy of grief\u0026nbsp;and the intricate systems we use to manage fate and uncertainty.\u0026nbsp;\u003cbr \/\u003e\nThe book leads the reader through the complicated visa application process for the mourners invited to enter the United States, revealing the underlying structures governing global exchange, the movement of bodies, and the hierarchies of art and culture.\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49664375095560,"sku":"9783775743198","price":48.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775743198_c950333b-909f-47ab-8703-5e76a1af8e98.jpg?v=1744139596"},{"product_id":"58236-elisabeth-neudoerfl","title":"Elisabeth Neudörfl","description":"\u003cp dir=\"ltr\" id=\"docs-internal-guid-09eec182-7fff-1567-4c90-8412a5257e77\" style=\"line-height:1.7999999999999998;margin-top:0pt;margin-bottom:0pt;\"\u003e\u003cspan style=\"background-color: transparent; font-weight: 400; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\"\u003eHong Kong in 2020: It is a medical, economic, and, above all, political state of emergency \u0026ndash; all at the same time. The complexity of this crisis is difficult to put into words. But it can be expressed in pictures. Elisabeth Neud\u0026ouml;rfl set off for the lively metropolis to capture the situation on the ground in photographs. She encountered a city deeply marked by protests and its struggle for democracy, the intransigence of power, and the onset of the Covid-19 pandemic. Neud\u0026ouml;rfl\u0026#39;s images were taken, on the demonstration routes and at the universities. Signs of dystopia are everywhere: closed stores, streets without traffic, deserted metro stations. The graffiti alone reflect the conflicts and the changes in the city. With these images, viewers are in a position to form their picture of the catastrophe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eELISABETH NEUDÖRFL (*1968) studied photography in Dortmund and Leipzig. She deals in her photographic oeuvre with the urban space as an expression of social, political, and historical discourses. She is a professor of documentary photography at the Folkwang Universität der Künste in Essen.\u003c\/p\u003e","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49755230339336,"sku":"9783775751025","price":40.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775751025.jpg?v=1744061288"},{"product_id":"17412-taryn-simon","title":"Taryn Simon","description":"\u003cp\u003e\u003cspan lang=\"EN-GB\" style=\"FONT-SIZE: 11pt; FONT-FAMILY: 'Adobe Garamond Pro'; mso-ansi-language: EN-GB\"\u003eIn 1936, an ornithologist called James Bond released the definitive taxonomy of birds found in the \u003c!--?xml:namespace prefix = \"st1\" ns = \"urn:schemas-microsoft-com:office:smarttags\" \/--\u003e\u003cst1:place w:st=\"on\"\u003eCaribbean\u003c\/st1:place\u003e, titled\u0026nbsp;\u003ci\u003eBirds of the West Indies\u003c\/i\u003e. Ian Fleming, an active bird watcher living in \u003cst1:country-region w:st=\"on\"\u003e\u003cst1:place w:st=\"on\"\u003eJamaica\u003c\/st1:place\u003e\u003c\/st1:country-region\u003e, subsequently appropriated the name for his novel\u0026rsquo;s lead character. He found it to be perfectly \u0026ldquo;ordinary\u0026rdquo;, \u0026ldquo;brief\u0026rdquo;, \u0026ldquo;Anglo-Saxon\u0026rdquo; and \u0026ldquo;masculine\u0026rdquo;. This co-opting of names was the first replacement in a series of substitutions that would become central to the construction of the Bond narrative. In a meticulous and comprehensive dissection of the Bond films, artist Taryn Simon\u0026nbsp;(*1975 in \u003cst1:place w:st=\"on\"\u003e\u003cst1:state w:st=\"on\"\u003eNew York\u003c\/st1:state\u003e\u003c\/st1:place\u003e)\u0026nbsp;inventoried women, weapons and vehicles in Bond. The contents of these categories function as essential accessories to the narrative\u0026rsquo;s myth of the seductive, powerful, and invincible western male.\u0026nbsp;In\u0026nbsp;\u003ci\u003eBirds of the West Indies\u003c\/i\u003e, Simon presents a visual database of interchangeable variables used in the production of fantasy, through which she examines the economic and emotional value generated by their repetition.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan lang=\"EN-GB\" style=\"FONT-SIZE: 11pt; FONT-FAMILY: 'Adobe Garamond Pro'; mso-ansi-language: EN-GB\"\u003e\u003cspan lang=\"EN-GB\" style=\"FONT-FAMILY: TheSans; mso-ansi-language: EN-GB\"\u003eExhibition schedule: 2013 Carnegie International, Pittsburgh October 5, 2013\u0026ndash;March 16, 2014\u003c!--?xml:namespace prefix = \"o\" ns = \"urn:schemas-microsoft-com:office:office\" \/--\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB\"\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Book (signed) (978-3-7757-4140-8)","offer_id":45123060498696,"sku":"9783775741408","price":360.0,"currency_code":"EUR","in_stock":true},{"title":"Book (978-3-7757-3663-3)","offer_id":41645950763185,"sku":"9783775736633","price":34.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775736633_0f7697e5-3869-4895-a1c5-f4078e46c0ea.jpg?v=1744139565"},{"product_id":"44705-jacqueline-hassink","title":"Jacqueline Hassink","description":"\u003cp\u003e\u003cem\u003eUnwired\u003c\/em\u003e combines two concurrent projects from the Dutch photographer Jacqueline Hassink (*1966 in Enschede), both of which sharpen our eye for an increasingly digitally connected world. In \u003cem\u003eUnwired Landscapes\u003c\/em\u003e she has sought out places where it is impossible to build a network, where there is pure radio silence, so to speak\u0026mdash;remote areas like the Japanese island of Yakushima, the Norwegian group of islands Svalbard known as Spitsbergen, or the uninhabitable volcanic desert of Iceland are caught by her lens, as are artificially created dead zones in urban spaces, such as a Digital Detox Hotel in Baden Baden.\u003cbr \/\u003e\nInitially, her second project, \u003cem\u003eiPortrait, \u003c\/em\u003eseems to be the exact opposite of her first. In this project Hassink portrays people immersed in their smartphones in the subways of big cities such as New York, Paris, London, Moscow, Shanghai, Seoul, and Tokyo. Here, she reveals the other side of digital networking, which interferes with direct contact between human beings.\u003c\/p\u003e\n\n\u003cp\u003eExhibition: Nederlands Fotomuseum, Rotterdam 20.1.\u0026ndash;6.5.2018\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49664377225480,"sku":"9783775743983","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775743983_843d98d6-f6cb-4b2d-b23b-8d3d6dcbcd06.jpg?v=1744100774"},{"product_id":"52501-stefan-marx","title":"Stefan Marx","description":"\u003cp\u003eStefan Marx draws a great deal on a variety of grounds: large- and small-sized, colored or white paper; on cardboard, porcelain, skateboards, or textiles. He also always likes to draw in small notebooks. He takes them everywhere, because they are convenient, lightweight, and are the right size for any idea. Marx has developed an edition out of these notebooks, with four different covers and surprising drawings here and there on the inside pages\u0026mdash;four sketch books one ISBN. The luck of the draw, or coincidence, determines which cover goes to whom, or preferably, you can acquire the whole set, if you like. This is a unique notebook for all big and small ideas, thoughts, or texts.\u003c\/p\u003e\n\n\u003cp\u003eSTEFAN MARX (*1979 Schwalmstadt, Hesse) is a draftsman, skateboarder, illustrator, and cultural philosopher. He publishes artist books through his own publishing company, makes record covers for various labels, and shows his work at art book fairs and galleries. His work has been seen in numerous international exhibitions, and he does illustrations for programs and labels. In August 2019 his columns on vegetables appeared daily in The New York Times.\u0026nbsp;\u003c\/p\u003e\n","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49755200356616,"sku":"9783775746625","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775746625_3b88f2e3-d943-4dd0-bf32-2717e47aa4c9.jpg?v=1744136664"},{"product_id":"59924-zusammenspiel","title":"Zusammenspiel","description":"\u003cp\u003e\u0026ldquo;She, a woman of high beauty, created like no other to be Medea, Madonna, Iphigenia, Aspasia, decided one sunny winter day to escape her loneliness and to leave La Rotonda. She bought a ticket \u0026lsquo;Aller jamais retour. Berlin Tegel\u0026rsquo;.\u0026rdquo; This is the opening scene of Ulrike Ottinger\u0026rsquo;s momentous 1979 film \u003cem\u003eTicket of No Return\u003c\/em\u003e\u0026mdash;the woman of high beauty was Tabea Blumenschein. Unconcerned by all conventions, Blumenschein adored transformation: in a distinctive, avant-garde aesthetic, the two women embraced various different identities and challenged many norms, in the process revealing the performativity of gender. Initiating a dialog between the two artists\u0026rsquo; perspectives, these books bring together for the first time Blumenschein\u0026rsquo;s drawings with Ottinger\u0026rsquo;s photographs from their joint performance sessions.\u003c\/p\u003e\n\u003cp\u003eULRIKE OTTINGER (*1942, Constance) is one of the most import- ant German filmmakers. Moving to Berlin in 1973, she became a pioneer of avant-garde cinematography. Ottinger’s photographic works, feature films and documentaries have been shown at major international festivals and retrospectives, including the MoMa in New York, Berlinale, the documenta and the Venice Biennale.TABEA BLUMENSCHEIN (1952–2020) was a cult figure of West Berlin’s queer feminist subculture in the 1970s and 80s. For about ten years, she played a key role in Ottinger’s films as leading actress and costume designer, and was part of legendary avant- garde punk collective Die tödliche Doris. In the 1990s she withdrew from the public, yet remained active as an artist until her death.\u003c\/p\u003e","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49755242856712,"sku":"9783775752435","price":40.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775752435_154b08c9-dcba-48e7-a4b8-90f4ae06bcbd.jpg?v=1744150703"},{"product_id":"64256-books-to-do","title":"Books to do","description":"\u003cp\u003e\u003cem\u003eBooks to do\u003c\/em\u003e Is not a usual monograph, but a kind of meta book about Albert Coers in the form of a to-do list that have already been realized and still to be implemented. It is a collection of ideas and material, documentation, self-suggestion and lustful utopian work program at the same time. But regardless of whether real or fictional, one of the projects of Coers all have in common: they are not only extremely smart, but also funny conceptual works that are always approaching the topics of language, writing and book in a new way.\u003c\/p\u003e\u003cp\u003eAlbert Coers (*1975) studied German studies and art history in Pisa as well as visual art at the ADBK Munich. At the center of his work is the work with language -related material and the publication of artist books. He lives and works in Berlin and Munich.\u003c\/p\u003e","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49755246330120,"sku":"9783775754279","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775754279_b9014aef-c842-45a5-8ba2-7d6d58a30a59.jpg?v=1744049992"},{"product_id":"65453-stefan-marx","title":"Stefan Marx","description":"The series Reading the News was created in 2019 for the popular drawing column in the New York Times. Stefan Marx developed a special book from these small-format drawings on thick cardboard. Whether considered an artist's book, a coloring book, or an inspired children's book – it opens up unique spaces within his lines. Along his cheerful drawings, everything about vegetables, fruits, or reading can be viewed, discovered, and told.\u003cbr\u003e\u003cbr\u003eSTEFAN MARX's (*1979 Schwalmstadt, Hesse) distinctive style can be found on paper, canvas, porcelain, and textiles. He designs for various labels, publishes zines independently, and showcases his work at numerous international exhibitions, art book fairs, and galleries. Marx lives and works in Berlin.","brand":"Hatje Cantz Verlag","offers":[{"title":"Default Title","offer_id":49664377553160,"sku":"9783775755535","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0582\/8948\/8049\/files\/odoo_9783775755535_a3ca2ade-0e1c-48a6-9111-45629f6f2d57.jpg?v=1744288508"},{"product_id":"66285-robert-longo-charcoal-volume-2","title":"Robert Longo: Charcoal Volume 2","description":"Charcoal Volume 2 presents the impressive charcoal drawings of American artist Robert Longo. The large-format, elaborately designed catalog picks up where the first volume left off and brings together works from 2012 to the present day. Together, they form a comprehensive compendium of the series, which is central to the oeuvre of the legendary New York artist. \u003cbr\u003eEssays by Tim Griffin and Haley Mellin explain the context of the existential questions of our time, which are at the heart of Longo's new, large-format, hyperrealistic drawings. With light and shadow, he masterfully creates impressive depth and unexpected dimensions in his artistic engagement with war, violence, the climate crisis, the effects of capitalism and consumer culture, the increasing polarization of American society, forms of political protest, and the possibilities of individual freedom.\u003cbr\u003e\u003cbr\u003eROBERT LONGO (b. 1953, Brooklyn) is one of the most influential artists of American postmodernism. In the 1980s, he became one of the central protagonists of the so-called Pictures Generation, one of the most influential American art movements to date. What characterized this loose grouping of artists including Cindy Sherman, Barbara Kruger, Louise Lawler, David Salle, Richard Prince, Jack Goldstein, and Sherrie Levine, despite the diversity of their individual positions, was their appropriation, restaging, and recontextualization of existing images. 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This catalog is published in conjunction with the exhibition Robert Longo: The Acceleration of History at the Milwaukee Art Museum and focuses on Longo's work from the last ten years, which was created as an immediate response to current global events, and which is here placed, among other things, in the context of historical painting.\u003cbr\u003e\u003cbr\u003eRobert Longo (b. 1953) is a New York-based artist, filmmaker, and musician. He is considered a central representative of the American \"Pictures Generation,\" which in the 1980s exposed stereotypes of visual culture through appropriation and montage and criticized the mediation of wars and an exaggerated cult of history. 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At the same time, however, her tapestries also make room for those who have had little or no power so far. The formerly affirmative character of tapestry art is thus expanded by a critical dimension, as Margret Eicher turns it into an instrument of profound media reflection. There is currently probably no other artistic work that so clearly and nuancedly illustrates the consequences of the digital revolution.\u003cbr\u003e\u003cbr\u003eAn exceptionally designed book with a spectacular colored edge.\u003cbr\u003e\u003cbr\u003eMargret Eicher (b. 1955, Viersen) studied at the Düsseldorf Art Academy, where drawing was central. After completing her studies, however, she turned her back on this medium and pursued the art form of Copy Art. 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