Published in conjunction with the exhibition Art_Latin_America: Against the Survey Curated by James Oles, Adjunct Curator of Latin American Art the Davis Museum and Senior Lecturer in the Art Department at Wellesley College
Christiane Baumgartner: Another Country complements the artist’s first major museum exhibition in the U.S. and offers an in-depth introduction to the artist’s work at mid-career. Baumgartner is best known for monumental woodcuts, handcarved prints that literally and conceptually expand the traditional boundaries of the medium beyond expectation. Leipzig-based artist Christiane Baumgartner (b. 1967) works at the intersection of old and new media to expand the conceptual and technical capacities of printmaking. Sourcing images from cinema and TV or from her own photographs and videos, she hand-carves woodcuts that defy convention and expectation. Often monumental in scale or undertaken in large series, the work is about speed and transmission, about human sight and its elusive capture, about cultural memory and modes of representation. Essays contextualise the work in relation to German printmaking and the Leipzig school; an interview with the artist surveys her praxis at mid-career.
Editor: Marilee Boyd Meyer | Published on February 1, 1997 | ISBN-10: 0810963418 | ISBN-13: 978-0810963412 | Fine craftsmanship and handiwork, originality in design, aesthetic purity, and honest use of materials in both decorative and utilitarian objects were the ideals embraced by Boston's Society of Arts and Crafts. This book celebrates the organization's centenary with splendid examples of metalwork, jewelry textiles, furniture, ceramics, photography, and more. 273 illustrations, 52 in color.
Author: Carol Thompson | Contributors: René Paul Barilleaux, Manthia Diawara, Michael Rooks | Published on July 25, 2011 | ISBN-10: 3791351540 | ISBN-13: 978-3791351544 | This book offers the first mid-career survey of work by emerging American artist Radcliffe Bailey. Ceaseless experimentation is the driving force behind Radcliffe Bailey's extraordinarily diverse body of work. In the past decade alone he has created sculptures, paintings, installations, and works on paper, incorporating everything from coffee to glass to sheet music to tobacco leaves. This volume reproduces more than 70 works, many of which have never been published before, and considers Bailey's work in a major essay and four shorter discussions. In these large- and small-scale pieces Bailey explores ideas of ancestry, race, memory, struggle, and sacrifice, including the artist's own engagement with African sculpture in connection with an investigation into his family's DNA.
Author: Jem Southam | Published on November 1, 2005 | ISBN-10: 1568985177 | ISBN-13: 978-1568985176 | Early in the morning, before breakfast and the beginning of the workday, photographer Jem Southam takes to the countryside of southwest England, visiting and revisiting the hills and dales of Bristol, Cornwall, Devon, and Somerset. His lyrical photographs of these places, taken in series over several years, chart the subtle evolution of this picturesque countryside as it has been transformed by both natural processes and human intervention. Ostensibly topographic and descriptive, each achieves a greater power thanks to an allegorical language that draws on our collective imagination. Landscape Stories is the first comprehensive collection of Southam's work, drawn from three completed series: The Pond at Upton Pyne, The Red River, and Rockfalls, Rivermouths, and Ponds, along with several smaller groups of pictures from series still in the making. Southam's brief narratives about each site—together with essays by Gerry Badger and Andy Grundberg, which examine Southam's work from European and American perspectives, respectively—create a rich context for viewing these remarkable, large-format photographs.
Editors: David Mickenberg, Corinne Granof, and Peter Hayes | Published on February 1, 2002 | ISBN-10: 0810115484 | ISBN-13: 978-0810115484 | If cliché leads us to believe that art is made out of suffering, there are few circumstances in which the language of art could be more direct, more profound, or more moving than art made in the European concentration camps of World War II. While Auschwitz itself has come to represent the evil that is often considered a paradigm and example of modern barbarity, art and culture played significant roles there. In the extreme and physically threatening circumstances that would seem to thwart creativity, art functioned as a survival strategy, catharsis, documentation, and, at times, a means of psychological escape. Auschwitz functions as a symbolic and historical focus for this exhibition and catalog. It serves as a thematic focal point and a common thread that touched so many victims of various nationalities and disparate backgrounds. While the exhibition presents art that was created at Auschwitz, as well as art produced at other sites, including Theresienstadt, Buchenwald, Gurs, and the Lódz Ghetto, all of the artists in The Last Expression: Art and Auschwitz were ultimately victims at Auschwitz. The catalog includes reproductions of some 300 artworks; each tells a piece of an incredible history. Each remnant of these personal journeys and individual travails contributes to our understanding of the victims of the Holocaust, their experiences, the nature and function of the camps, the strategies of the perpetrators, as well as the will and need to create art.
Essays by Stephen Robeson Miller and Jonathan Stuhlman Edited by Nancy Wallach Katonah Museum of Art, Katonah, New York: June 5 - Sept 18, 2011 Mint Museum Uptown at Levine Center for the Arts, Charlotte, North Carolina: Feb 11 - May 13, 2012 Published in 2011
Reinhold Heller, Curator | Anja Chávez, Editor | Published in 2003 | ISBN-10: 0974489808 | ISBN-13: 978-0974489803 | Two and One: Printmaking in Germany, 1945-1990 is one of the first major publications to focus on the medium of printmaking in a divided postwar germany and to give a broad overview of the visual arts in the former GDR and FRG. It is published in conjunction with an exhibition of the same title that was comprised of 179 prints that evoked both the parallels and the differences between artists from former East and West Germany, including works by Gerhard Altenbourg, Horst Antes, Elvira Bach, Georg Baselitz, Eugene Batz, Willi Baumester, Joseph Beuys, K. P. Brehmer, Werner Büttner, Manfred Butzmann, Carlfriedrich Claus, Otto Dix, Paul Uwe Dreyer, Felix Droese, Erwin Eisch, Claus Felixmüller, Lothar Fischer, Martina Geist, Karl Gerstner, Herman Glöckner, Dieter Goltzsche, Gotthard Graubner, HAP Grieshaber, Ernst Hassebrauch, Erich Heckel, Erwin Heerich, K. O. Götz, Gerhard Hoehme, K. H Hödicke, Jörg Immendorff, Horst Janssen, Hubert Kiecol, Anselm Kiefer, Per Kirkeby, Konrad Klapheck, Kózik, Ferdinand Kriwet, Lea Langer Grundig, Konrad Lueg, Markus Lüpertz, Adolph Luther, Heinz Mack, Michael Morgner, Blinky Palermo, Wolfgang Mattheuer, Arno Mohr, E. W. Nay, A. R. Penck, Otto Piene, Hans Platschek, Sigmar Polke, Heimrad Prem, Thomas Ranft, Dagmar Ranft-Schinke, Dieter Rempt, Gerhard Richter, Hans Theo Richter, Dieter Roth, Wilhelm Rudolph, Jürgen Schieferdecker, Jo Schöpfer, Rudolf Schoofs, Emil Schumacher, K. R. H. Sonderborg, Peter Sorge, Helmut Sturm, Hann Trier, Jan Peter Tripp, Dieter Tucholke, Werner Tübke, Günther Uecker, Karl Völker, Wolf Vostell, Fritz Winter, Lothar Wolleh, Paul Wunderlich, and HP Zimmer. Prints have always been the vehicle for political expression. The prints by more than eighty artists discussed in this publication offer a distinct view on the question of German identity between the end of World War II and the reunification of the two Germanies. The book equally explores the claim for a second abstract movement in former East and West Germany by many of artists who were as much painters, sculptors, performance artists, and filmmakers as they were printmakers. Curated by Reinhold Heller (Professor of Germanic Languages and Art History at the University of Chicago and specialist in 20th century German printmaking) and edited by Anja Chávez, Ph. D., Curator of Contemporary Art, Davis Museum and Cultural Center, Wellesley College in Wellesley, Massachusetts, this catalogue represents the most comprehensive study of printmaking in postwar Germany. Included are essays by scholars such as Patricia Berman, Professor at the Art History Department, Wellesley College; Dorothea Dietrich, Visiting Associate Professor for 20th century, Art & Art History Department at Duke University; Reinhold Heller; and Nina Zimmer, Ph. D., Wissenschaftliche Assistentin, Kunsthalle Hamburg. Interviews with former dealer, collector, and curator René Block, and with Gunnar Barthel and Tobias Tezner, co-founders of the avant-garde gallery Galerie Oben (Chemnitz, Germany) offer rare insights into the political and cultural conditions in the former GDR and FRG.