Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
Clth, 8.75 x 11.5 in. / 700 pgs / illustrated throughout. | 9/30/2013 | In stock ISBN 9788887029550 | $120.00
Published by Koenig Books, London. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Daniel Birnbaum, Jennifer Higgie, Julia Voss.
Working before Kandinsky and Malevich, Hilma af Klint was arguably the first abstract painter
Hilma af Klint graduated from the Royal Academy of Fine Arts in Stockholm in 1887, established a studio in the city, and began creating and exhibiting traditional landscapes, botanical drawings and portraits. Privately, however, af Klint was already beginning to discard what she had learned at the Academy in favor of painting the invisible worlds hidden within nature, the spiritual realm and the occult.
As early as 1906, af Klint was working with abstract imagery--giving her a lead of several years in the modernist race to be the first to discover abstraction. She joined a group of four other female artists, “The Five,” which held séances and experimented with automatic writing and drawing--decades before the Surrealists would do something similar.
In 1905, af Klint received a “commission” from the mysterious entity Amaliel to create her most important body of work: The Paintings for the Temple. Hilma af Klint: Painting the Unseen focuses on this important series, consisting of 193 predominately abstract paintings in various series and subgroups. Claiming to act as merely a medium for spiritual forces guiding her hand, af Klint painted a path towards a harmony between the spiritual and material worlds; good and evil; man and woman; religion and science.
Swedish painter Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.
Published by Walther König, Köln. Text by Daniel Birnbaum, Ann-Sofi Noring.
The first painter to devote herself entirely to abstract art, Hilma af Klint (1862-1944) created a body of work that has only recently begun to be appreciated for its visionary intensity and innovation. The Legacy of Hilma af Klint reproduces in its entirety a previously unknown 1920 notebook by af Klint. Titled "Blumen, Moose, Flechten" [Flowers, Mosses, Lichen] on the front cover, this notebook lays out the artist's occult geometric extrapolations of nature, in diagrams and handwritten commentary (in German). The second part of this volume gathers responses to af Klint's work (visually and in essays) by nine contemporary artists: Cecilia Edefalk, Karl Holmqvist, Eva Löfdahl, Helen Mirra, Rebecca Quaytman, Amy Sillman, Fredrik Söderberg, Sophie Tottie and Christine Ödlund. The book is published on the occasion of af Klint's inclusion in the 2013 Venice Biennale.
Published by Hatje Cantz. Edited by Iris Müller-Westermann. Text by David Lomas, Iris Müller-Westermann, Pascal Rousseau, Helmut Zander, et al.
Just before her death in 1944 at the age of 81, the Swedish painter and mystic Hilma af Klint stipulated that her paintings were not to be publicly exhibited for 20 years. In fact, another 40-plus years were to pass before inklings of her vast oeuvre began to reach public consciousness, with the landmark 1987 exhibition and book The Spiritual in Art. Since then, critics, artists and historians have praised her with ever-increasing awe, and today af Klint’s paintings, watercolors and sketches--numbering over 1,000 in total--have never looked so contemporary, presaging as they do the works of Beatriz Milhazes, Elizabeth Murray and Tal R., and Agnes Martin, Emma Kunz and Arthur Dove before them. For af Klint herself, as a medium for an art she was despairingly unable to comprehend, contemporaneity was irrelevant: her work--much of which was dictated by a spirit guide named Ananda--unfolded in complete ignorance of Kandinsky, Malevich or Mondrian, who likewise practised an abstraction informed by theosophy and occult philosophy. Af Klint’s abstractions preceded those of Kandinsky, who is usually credited with inventing abstract painting: as early as 1906, she was devising large-scale canvases filled with grids, circles, spirals and petal-like forms--sometimes diagrammatic, sometimes biomorphic. She was painting watercolor monochromes in 1916, and making automatic drawings long before the Surrealists. This monumental 280-page monograph, with 200 color plates, is the first full Hilma af Klint overview. A landmark publication, it not only reveals the moving lucidity of her art, but challenges the narrative of abstract art in the twentieth century.