Hatje Cantz

Charles Brittin: West and South

Throughout the 1950s, Charles Brittin was the unofficial house photographer for the Beat community that coalesced around the artist Wallace Berman. Brittin settled in Venice Beach, California, in 1951, and his beach shack became a hangout for the Berman circle, which included actors Dean Stockwell and Dennis Hopper, artist John Altoon, curator Walter Hopps and poet David Meltzer, among many others. A self-taught photographer, Brittin was working as a mailman at the time, and spent much of his free time wandering the streets with a camera; he came to know Venice intimately, and his pictures of the town are freighted with a hushed beauty and forlorn sweetness. In the early 1960s the focus of Brittin's life shifted dramatically when he became . . . . Hbk, 9.5 x 13 in. / 216 pgs / 150 duotone.

Edited by Kristine McKenna, Lorraine Wild, Roman Alonso, Lisa Eisner.

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D.A.P/Distributed Art Publishers/MOCA, LA/JRP|Ringier

Doug Aitken: The Idea of the West

Sunsets over the Pacific. "Surfers." "Movie stars." "Coyotes in the street." "Sex." Doug Aitken's The Idea of the West gathers the responses of 1,000 people on the streets who were asked "What is your idea of the West?" and assembles this amazing manifesto from their replies. Through an assortment of more than 200 color and black-and-white images juxtaposed with responses to this question, The Idea of the West takes the reader on a high-speed journey across space and time to trace the mythology of the New West. The volume also features conversational fragments by a host of creators based in the Pacific region, including Devendra Banhart, Bruce Brown, Charles Burnett, Exene Cervenka, Fallen Fruit, Simone Forti, Fritz Haeg, Miranda July, No . . . . Hbk, 11.25 x 8.75 in. / 160 pgs / 124 color / 72 b&w.

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Damiani/ Third Line

Monir Shahroudy Farmanfarmaian: Cosmic Geometry

Born in 1924 in the ancient Persian city of Qazvin, Monir Shahroudy Farmanfarmaian spent her childhood in a grand old house replete with stained glass, wall paintings and nightingales. Coming of age during World War II, she left occupied Iran and audaciously set out for New York, where she was quickly absorbed into the city's thriving avant garde. In the decades to follow, during successive exiles in Tehran and New York, Farmanfarmaian developed an intuitive yet painstakingly crafted artistic practice in mirror mosaic and reverse-painted glass that weds the cosmic patterning of her Iranian heritage with the rhythms of modern Western geometric abstraction. This book is the first substantial survey of Farmanfarmaian's acclaimed geometric works, and features an in-depth interview by . . . . Hbk, 9.75 x 11.75 in. / 256 pgs / illustrated throughout.

Edited by Hans Ulrich Obrist, Karen Marta. Text by Nader Ardalan, Media Farzin, Eleanor Sims. Conversation with Hans Ulrich Obrist.

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Gregory R. Miller & Co./Aspen Art Press

Mark Bradford: Merchant Posters

This book gathers for the first time an extensive selection of American artist—or builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same . . . . Hbk, 11 x 9 in. / 160 pgs / 100 color.

Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.

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JRP|Ringier

How to Do Things with Art

The Meaning of Art's Performativity

Art has never been as culturally and economically prominent as it is today. How can artists themselves shape the social relevance and impact of their work? In How to Do Things with Art, German art historian Dorothea von Hantelmann uses four case study artists--Daniel Buren, James Coleman, Jeff Koons and Tino Sehgal--to examine how an artwork acts upon and within social conventions, particularly through the "performing" of exhibitions. The book's title is a play on J.L. Austin's seminal text, How to Do Things with Words, which describes language's reality-producing properties and demonstrates that in "saying" there is always a "doing"--a linguistic counterpart to the dynamics envisioned by Von Hantelmann for art, in which "showing" is a kind of "doing." Von Hantelmann's . . . . Pbk, 6 x 8.25 in. / 208 pgs / 19 b&w.

By Dorothea von Hantlemann. Edited by Karen Marta. Foreword by Hans Ulrich Obrist.

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Charta

Hans Ulrich Obrist: Interviews, Volume 2

Since Hans Ulrich Obrist--museum director, curator, writer, cultural instigator and professional conversationalist--released his bestselling first volume of interviews back in 2004, one wonders if there is a living artist, musician or writer left with whom Obrist hasn't recorded an interview. Happily, of course, there are plenty. Obrist--who was born in Zurich in 1968, and who joined London's Serpentine Gallery as Co-Director of Exhibitions and Programmes and Director of International Projects in 2006--makes it his business to cross paths with the most significant thinkers of our time, from in or outside the artworld. Since 1993, he has conducted literally hundreds of interviews. The 70 published here are taken from an archive containing nearly 2,000 hours of recordings and organized by interviewees' dates . . . . Pbk, 5.5 x 8.25 in. / 950 pgs.

Edited by Charles Arsène-Henry, Shumon Basar, Karen Marta.

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Walther König, Köln

Hans Ulrich Obrist & Hans-Peter Feldmann: Interview

Here, Hans Ulrich Obrist and Hans-Peter Feldmann have decided to play with the interview format: Obrist poses the questions in writing and Feldmann answers each of them with a picture. The results are frequently funny, and an impressive exercise in visual thinking. . . . . Pbk, 6.5 x 8.75 in. / 130 pgs / 59 color / 73 b&w.

Edited by Hans Ulrich Obrist.

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JRP|Ringier

A Brief History of Curating

By Hans Ulrich Obrist

Part of JRP|Ringer's innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, . . . . Paperback, 6 x 8 in. / 200 pgs.

Edited by Hans Ulrich Obrist.

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DuMont Buchverlag

Bruce Nauman: Live or Die

Collector's Choice Vol. 10

Some forty-odd years after Bruce Nauman began tweaking the conventions of studio practice and the hallowed persona of the 'artist-as-seer,' Pamela M. Lee wrote in Artforum not long ago, "his station in postwar art history rests secure. His influence--whether through his affectless, task-based performances, his sculptural castings of negative space, or his intermedia mash-ups of language, video and noise--is everywhere apparent in contemporary art." Indeed, from the American artist's early work in sculpture and video, made in the 1960s, through his famous spiral of neon letters spelling out "the true artist helps the world by revealing mystic truths," which at once summarized and opened to critique the perennial mystique of the artist, up through his three-venue Golden Lion Award-winning exhibition at . . . . Hbk, 9.25 x 11.5 in. / 240 pgs / 180 color.

Text by Eugen Blume.

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PictureBox

Return of the Repressed: Destroy All Monsters 1974-1977

The influential Detroit anti-rock” group Destroy All Monsters (Mike Kelley, Cary Loren, Niagara, Jim Shaw) made raucous music, irreverent art and legendary zines, performing and disseminating their activities through an elaborate self-mythology. The Destroy All Monsters zines have been reprinted in facsimile editions, but the art objects made by the members have never been examined as independent works. Return of the Repressed: Destroy All Monsters 1974–1977 is the first retrospective of the artwork itself, as well as a DAM overview. Produced in collaboration with the artists, it collects the work of the collective between circa 1974–1977, almost all of which is previously unpublished. Included are dozens of candid photographs of the group and their environs by DAM member Carey Loren, which . . . . Pbk, 8.5 x 10 in. / 312 pgs / 400 color / 100 b&w.

Edited by Mike Kelley, Dan Nadel. Text by Nicole Rudick.

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Tilton Gallery

L.A. Object & David Hammons Body Prints

L.A. Object offers a historical overview of the Los Angeles assemblage movement of the 1960s and 70s. It focuses on works by primarily African-American artists often omitted from mainstream gallery and museum historical exhibitions who were working during the civil rights movement, the 1965 Watts riots and the era's general social and cultural upheaval: Ed Bereal, Wallace Berman, Nathaniel Bustion, Alonzo Davis, Dale Brockman Davis, Charles Dickson, Mel Edwards, David Hammons, Daniel La Rue Johnson, Ed Kienholz, Ron Miyashiro, Senga Nengudi, John Outterbridge, Noah Purifoy, Joe Ray, Betye Saar, Kenzi Shiokava and Timothy Washington. Central to this book are the unique body prints of David Hammons--ironic, often political commentaries relevant to the African-American experience that are presented for the first time . . . . Hbk, 10.5 x 10 in. / 424 pgs / 249 color / 252 b&w.

Edited by Connie Rogers Tilton, Lindsay Charlwood. Text by Steve Cannon, Dale Davis, Josine Ianco-Starrels, Kellie Jones, Yael Lipschutz, John Outterbridge, Greg Pitts, Betye Saar, Tobias Wofford.

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Skarstedt Fine Art

Barbara Kruger: Money Talks

Money Talks is the first publication to bring together a thematic grouping of Kruger's work. The subject chosen could not be more apt--not only because of current politics and economic realities, but also because this is the subject Kruger has repeatedly returned to throughout her career.

. . . . Clth, 8.75 x 11.25 in. / 76 pgs / 32 b&w.

Text by Lisa Phillips.

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Walther König, Köln/Koenig Books

Philippe Parreno: Films 1987-2010

Serpentine Gallery

Philippe Parreno rose to prominence in the 1990s among a group of artists later gathered under the rubric of Relational Aesthetics. Parreno has sought to redefine the exhibition experience as a coherent object rather than a collection of individual works. In this spirit, his recent exhibition at the Serpentine Gallery constitutes an environment through which the visitor is guided by an orchestration of sound and image. This catalogue for the exhibition examines Parreno’s films, including Invisibleboy (2010), the tale of a Chinese immigrant boy who sees imaginary monsters that are scratched onto the film stock; June 8, 1968 (2009) which revisits the train voyage that transported the corpse of Robert Kennedy from New York to Washington D.C.; and The Boy from . . . . Hbk, 8.75 x 10 in. / 200 pg / illustrated throughout.

Edited by Karen Marta, Kathryn Rattee, Zoe Stillpass. Foreword by Hans Ulrich Obrist, Julia Peyton-Jones. Texts by Nicolas Bourriaud, Michael Fried, Dorothea von Hantelmann.

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Hatje Cantz

ASCO: Elite of the Obscure

A Retrospective 1972-1987

ASCO: Elite of the Obscure is the first comprehensive monograph to survey the wide-ranging activities of the Chicano performance and conceptual art group ASCO. Active between 1972 and 1987, ASCO began as a tight-knit core of artists from east Los Angeles: Harry Gamboa Jr., Gronk, Willie Herrón and Patssi Valdez. Taking their name from the Spanish idiomatic word for disgust and nausea, ASCO launched their response to turbulent socio-political conditions in Los Angeles and the larger international context through performance, public art and multimedia. Geographically and culturally segregated from the then-nascent Los Angeles contemporary art scene, and aesthetically at odds with the emerging Chicano art movement, ASCO united to explore and exploit what they saw as the unlimited media of the . . . . Hbk, 7.75 x 9.5 in. / 432 pgs / 250 color.

Text by C. Ondine Chavoya, Rita Gonzalez, David E. James, Amelia Jones, Chon A. Noriega, Jesse Lerner, Deborah Cullen, Maris Bustamante, Colin Gunckel, David Román, Raúl Homero Villa, Josh Kun, Tere Romo, Mario Ontiveros, Ramón García, Michelle Habell-Pallán.

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Hatje Cantz

Lawrence Weiner: After Fine Art, Nach Bildende Kunst

One of Conceptual art’s most popular and iconic protagonists, Lawrence Weiner (born 1942) has stood as a pioneer for practitioners of language-based art for the last 40 years. His philosophical aphorisms, poetical declarations, idle observations and casual musings, and his appropriation of the art catalogue as artist’s book, have proved enduringly influential strategies. About 300 of Weiner’s works--whose total oeuvre to date comprises more than 1,000 works--have been presented only in German, in the German-speaking world (either translated by Weiner himself or conceived by him in German). Featuring over 800 pieces, this volume is the first catalogue raisonné of those works. As always, Weiner has assumed responsibility for the book’s typography and design. Accompanying text and visual documents shed light on . . . . Pbk, 6.5 x 9.5 in. / 200 pgs / 80 color.

Text by Gabriele Wix.

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Aperture

Rinko Kawauchi: Ametsuchi

Rinko Kawauchi has gained international recognition for her nuanced, lushly colored images that offer closely observed fragments of everyday life. In her latest work, she shifts her attention from the micro to the macro. The title, Ametsuchi, is composed of two Japanese characters meaning "heaven and earth," and is taken from the title of one of the oldest pangrams in Japanese-a chant in which each character of the Japanese syllabary is used. Translated loosely as "Song of the Universe," it comprises a list that includes the heavens, earth, stars and mountains. In Ametsuchi, Kawauchi brings together images of distant constellations and tiny figures lost within landscapes, as well as photographs of a traditional controlled burn farming method (yakihata) in which the . . . . Clth, 9.5 x 12.25 in. / 80 pgs / 40 color.

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D.A.P./Distributed Art Publishers, Inc.

Dash Snow: I Love You, Stupid

New York artist Dash Snow’s death in July 2009, two weeks before his 28th birthday, sent shockwaves of grief through the art world, though it was not unexpected. Since his late teens, Snow had used photography to documents his days and nights of extreme hedonism--nights which, as he famously claimed, he might not otherwise remember. As these Polaroid photographs began to be exhibited in the early 2000s, Snow was briefly launched to art-world superstardom, keeping company with the likes of Dan Colen and Ryan McGinley, with whom he pioneered a photographic style whose subject matter is best characterized in McGinley’s brief memoir of Snow: Irresponsible, reckless, carefree, wild, rich--we were just kids doing drugs and being bad, out at bars every . . . . Pbk, 7.25 x 11 in. / 440 pgs / 430 color.

Edited by Mary Blair Hansen. Text by Glenn O'Brien.

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Kiito-San

Urs Fischer

Urs Fischer provides an overview of the Swiss artist’s heterogeneous oeuvre and features many of his best-known works. Designed and conceived by Fischer, the book is arranged thematically rather than chronologically, with clusters of works that allow the reader to observe how Fischer has explored disparate formal strategies to engage with his multifarious interests--which include gravity, architecture, shadows, representation, destruction, entropy and time--and revisit favorite motifs, such as furniture, fruit, animals, skeletons and other surrogates for his cardinal subject, the human body, over the past decade and a half. Produced for his retrospective exhibition at the Museum of Contemporary Art in Los Angeles, this hefty volume includes essays by Jessica Morgan and Ulrich Lehmann that unpack the dominant thematics in Fischer’s . . . . Pbk, 8.75 x 11 in. / 650 pgs / illustrated throughout.

Text by Jessica Morgan, Ulrich Lehmann.

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Hatje Cantz

Jockum Nordström: All I Have Learned and Forgotten Again

Jockum Nordström creates oddball, apparently naïve narratives that owe much to the twin influences of folk art and modernist absurdism. Each of his painted, drawn or collaged stories is both specific and open-ended, as though--not unlike Henry Darger’s paintings--they are part of a much grander and ongoing tale that unfolds over a prolonged period. His distinctive sensibility draws on a wide range of inspirations in music, poetry and architecture--particularly the Stockholm suburb where he grew up, which both his drawings and his sculptures reference on an ongoing basis. Other important influences include Swedish academic and pop culture, as well as American folk art, Art Brut and Surrealist collage. Dotted with an assortment of objects, animals and people, the narratives in his . . . . Hbk, 9 x 11.5 in. / 208 pgs / 103 color.

Text by Marc Donnadieu, John Hutchinson.

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Hatje Cantz

Neo Rauch: Selected Works 1993-2012

Almost singlehandedly, Leipzig school painter Neo Rauch has renewed the possibilities of allegory, politics and surrealism in contemporary painting. His epic canvases, with their disjunct components, resemble collages as much as painting, populated with characters seemingly plucked from momentous historical occasions--protestors, eminent-looking statesmen, soldiers, workers--as well as ordinary people engaged in bizarre, enigmatic actions of no apparent political/historical consequence whatsoever. The protagonists of these works, surrounded by floating symbols, abstract blobs and fragments of buildings and interiors, collide as if in some grand trans-historical continuum in which all eras come together. Realized in loud, garish hues partly informed by the artist’s early exposure to Socialist Realism, Rauch’s enigmatic pictorial narratives never vanish into explanation: My paintings have something vital about them, . . . . Hbk, 9 x 12.25 in. / 180 pgs / 68 color.

Text by Harald Kunde.

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Metropolis Books/Gordon de Vries Studio

Fire Island Modernist: Horace Gifford and the Architecture of Seduction

As the 1960s became The Sixties, architect Horace Gifford executed a remarkable series of beach houses that transformed the terrain and culture of New York’s Fire Island. Growing up on the beaches of Florida, Gifford forged a deep connection with coastal landscapes. Pairing this sensitivity with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass that was as attuned to natural landscapes as to our animal natures. Gifford’s serene 1960s pavilions provided refuge from a hostile world, while his exuberant post-Stonewall, pre-AIDS masterpieces orchestrated bacchanals of liberation. Marilyn Monroe, Elizabeth Taylor and Montgomery Clift once spurned Hollywood limos for the rustic charm of Fire Island’s boardwalks. Truman Capote wrote Breakfast at Tiffany’s here. Diane von Furstenburg . . . . Hbk, 9 x 12 in. / 204 pgs / 140 color / 100 b&w.

Edited and with a foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.

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Metropolis Books

A Country of Cities

A Manifesto for an Urban America

In A Country of Cities, author Vishaan Chakrabarti argues that well-designed cities are the key to solving America's great national challenges: environmental degradation, unsustainable consumption, economic stagnation, rising public health costs and decreased social mobility. If we develop them wisely in the future, our cities can be the force leading us into a new era of progressive and prosperous stewardship of our nation. In compelling chapters, Chakrabarti brings us a wealth of information about cities, suburbs and exurbs, looking at how they developed across the 50 states and their roles in prosperity and globalization, sustainability and resilience, and heath and joy. Counter to what you might think, American cities today are growing faster than their suburban counterparts for the first time . . . . Hbk, 6.5 x 9.5 in. / 252 pgs / 150 color.

By Vishaan Chakrabarti. Foreword by Norman Foster. Illustrations by SHoP Architects.

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Aperture

Bernd & Hilla Becher: Stonework and Lime Kilns

Over the course of nearly five decades, Bernd and Hilla Becher documented almost every type of industrial architecture--from water towers and steel mills to gas tanks and grain silos--in Europe and the United States. Whether presenting single shots or their signature typological grids, the Bechers created a photographic testament to the industrial revolution that so emphatically shaped the nineteenth and twentieth centuries. At the same time, however, they also captured a much older manufacturing tradition: the quarrying and processing of stone. This volume, an essential addition to the Bechers’ ouevre, is devoted to their photographs of rock-processing plants and lime kilns taken in Germany, France, The Netherlands, Belgium, Switzerland, Austria and Great Britain throughout the 1980s and 90s. Each structure is . . . . Hbk, 10.5 x 11.5 in. / 244 pgs / 232 duotone.

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Ediciones Poligrafa

Marcel Broodthaers: Collected Writings

I, too, asked myself if I could not sell something and succeed in life... Finally the idea of inventing something insincere came to me and I got to work immediately.” With this statement, penned for his first solo show in April, 1964, Marcel Broodthaers (1924-1976) announced his death as a poet and birth as an artist. In fact, he was to transform the category of artist completely, purging the vocation of its medium-specific implications to pursue a unified conceptualism across media such as artist's books, prints, film, installation, sculpture and writings--” where the world of plastic arts and the world of poetry might possibly, I wouldn't say meet, but at the very frontier where they part.” Broodthaers' Museum of Modern Art, . . . . Clth, 8.5 x 10.25 in. / 512 pgs / 98 color / 126 duotone.

Edited by Gloria Moure. Text by Birgit Pelzer. Preface by Marie Gilissen Broodthaers.

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Sinecure Books

Enjoy the Experience

Homemade Records 1958-1992

Enjoy the Experience is the largest collection of American private-press vinyl ever amassed and presented, featuring more than 1,000 cover reproductions from 1958–1992. The musicians here range from awkward teen pop combos to pizza-parlor organists; religious cult leaders to Sinatra imitators. But this is not a novelty show: also profiled and discussed are some of the most highly regarded rock, soul, jazz, funk and singer/songwriter albums from the latter half of the twentieth century. Enjoy the Experience begins when the custom-pressed American record plant came into existence and ends, largely, with the birth of the CD. As such, it is a snapshot of America in the second half of the twentieth century and collates a bevy of tales and albums released . . . . Hbk, 8.75 x 11 in. / 512 pgs / 1,241 color / 29 b&w.

Edited by Johan Kugelberg, Michael P. Daley, Paul Major. Text by Gregg Turkington, Will Louviere, Geoffrey Weiss, Evan LeVine, Rich Haupt, Douglas Mcgowan, Brandan Kearney, Mike Ascherman, Jack Streitman, Gabriel Mckee, Will Cameron, Eothen Alapatt.

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The Museum of Modern Art, New York

MoMA Highlights: 350 Works from The Museum of Modern Art, New York

Revised Edition 2013

Few institutions approach the richness of The Museum of Modern Art’s holdings in painting, sculpture, drawing, prints, illustrated books, architectural models and drawings, graphic and industrial design, photography, film, video and multimedia installations. This updated edition of MoMA Highlights: 350 Works from The Museum of Modern Art is a fresh consideration of the Museum’s superlative collection of modern and contemporary art, featuring 115 new works since the 2004 edition, many of them recent acquisitions ranging from typefaces to conceptual performances that reflect the Museum’s ongoing dedication to the art of our time. MoMA Highlights presents a rich chronological overview of the most significant artworks from each of the Museum’s curatorial departments--painting and sculpture, drawings, prints and illustrated books, photography, architecture and . . . . Pbk, 5 x 8 in. / 380 pgs / 350 color.

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The Museum of Modern Art, New York

Van Gogh, Dalí, and Beyond: The World Reimagined

Van Gogh, Dalí, and Beyond: The World Reimagined is an exploration of the myriad innovative ways modern artists have reinvented the traditional genres of portrait, still life, and landscape from the 1880s to today.  By looking closely at works in a range of media, the catalogue shows how these long-established categories have expanded and transformed from Post-Impressionism to Photorealism, reflecting changes in our conceptions of individuals, objects, and spaces.
The selection of works range from Frida Kahlo’s confident self-representation to Gerhard Richter’s blurred likeness; from Paul Cézanne’s iconic tabletop arrangements to Jeff Koons’ commodified objects; from Vincent van Gogh’s roiling olive trees to Richard Long’s land art, each demonstrating how modernism’s radical new forms have continuously revitalized art history’s conventional subjects. An . . . . Hbk, 9 x 10.5 in. / 192 pgs / 142 color.

Text by Samantha Friedman.

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The American-Scandinavian Foundation

Munch|Warhol and the Multiple Image

Edvard Munch (1863–1944) and Andy Warhol (1928–1987), two of the most prolific and inventive printmakers of the twentieth century, are brought together in this volume, which examines four lithographic series Munch produced at the turn of the century--“The Scream,” Madonna,” The Brooch. Eva Mudocci” and Self-Portrait with Skeleton Arm”--and a little-known but extraordinary series of unpublished silkscreens created by Warhol in 1984 that appropriate and re-envision Munch’s motifs. The comparison reveals remarkable affinities between the two artists: both Munch and Warhol were preoccupied with themes of anxiety and alienation, ideal beauty, sex and mortality, and both skillfully mined the iconic power of the image, crafting their myths in self-portraits and in life. Published to coincide with an exhibition at Scandinavia House: . . . . Hbk, 11 x 10 in. / 88 pgs / 75 color / 5 b&w.

Edited by Pari Stave. Text by Patricia G. Berman. Foreword by Edward P. Gallagher.

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Hatje Cantz

The Picassos Are Here!

A Retrospective from Basel Collections

The public reception of Pablo Picasso’s (1881–1973) art is inextricably bound up with the early support of his first collectors--men such as Raoul La Roche, Rudolf Staechelin, Karl Im Obersteg and Maja Sacher-Stehlin, who were buying his work from c. 1918 on--as well as the Basel art historians Georg Schmidt and Christian Geelhaar, who were among the first to recognize the role Picasso would play in twentieth-century art. This publication accompanies a large-scale retrospective of the artist’s work, the first to unite the collections of the Kunstmuseum Basel and the Fondation Beyeler, assembled with donations from the private collections of the above patrons. The Picassos Are Here! allows us to perceive astonishing correlations between the artist’s many periods, from the Blue . . . . Hbk, 7.75 x 10.5 in. / 208 pgs / 275 color.

Text by Anita Haldemann, Henriette Mentha, Christian Spies, Seraina Werthemann, Nina Zimmer.

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Hatje Cantz

Otto Dix and New Objectivity

The Neue Sachlichkeit: I invented it.” Thus Otto Dix (1891–1969), looking back with characteristic directness, chose to rewrite the development of the art movement that can be considered the third path”--alongside Abstraction and Expressionism--taken by progressive artists in the modern era. Situated somewhere between the grotesque and the classical, Dix’s harsh, unrelenting realism produced some of the most horrific depictions of the First World War, and some of the most critical portrayals of the Weimar Republic. Published to coincide with an exhibition at the Kunstmuseum in Stuttgart, Otto Dix and New Objectivity is the first publication to fully illuminate the Neue Sachlichkeit against the backdrop of the Weimar Republic and National Socialism. The exhibition brings together around 120 works to investigate . . . . Hbk, 9.5 x 11.5 in. / 232 pgs / 100 color / 30 b&w.

Edited by Nils Büttner, Daniel Spanke. Text by Julia Bulk, Nils Büttner, James van Dyke, Olaf Peters, Birgit Schwarz, Änne Söll, Daniel Spanke, Ilka Voermann, et al.

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