Published by Hatje Cantz. Edited by Klaus Albrecht Schröder. Text by Elsy Lahner, Klaus Albrecht Schröder, et al.
Austrian artist Gottfried Helnwein (born 1948) has enjoyed longstanding notoriety for his cross-media depictions of wounded children. Updating an artistic tradition of transgressed childhood innocence (Goya, Messerschmidt) with the visceral brutality of Viennese Actionism, Helnwein’s hyperrealistic paintings--as well as his photographs, multimedia works and performances--are truly confrontational, insofar as they permit the viewer no complacency and no escape. His subjects are most often children, usually depicted in a menacingly cold, shadowy light, who are very clearly in emotional or physical pain (or both). Like his near-contemporary Anselm Kiefer, Helnwein has also broached the topic of the Holocaust, mostly famously in his painting “Epiphany I,” in which a group of SS officers surround a mother and child. The question Helnwein’s works dare to pose is: how can such ‘adult’ violence befall such fragile and unworldly creatures? The most substantial Helnwein overview yet published, this volume marks the artist’s 65th birthday, and presents all stages of his artistic development, from landmark works of photorealism such as “Peinlich” (“Embarrassing”) from 1971 to 1982’s “Self-Portrait” (“Blackout”), which achieved fame worldwide as a Scorpions album cover, to more recent works such as the disturbing series Disasters of War, which focuses on severely injured children and teens.
Published by JRP|Ringier. Edited by Karen Marta. Text by Philippe Parreno.
In collaboration with the American illustrator Johan Olander, Philippe Parreno has created this children's book, in which a parade of 16 monsters—such as Propaganda Rabbit, Beamer, Audiotron, Superfan and Reality—are described and illustrated, in the form of a fable.
Published by Holzwarth Publications. Text by Jean-Marie Gallais.
British painter Glenn Brown’s fourth exhibition at Galerie Max Hetzler in Berlin took place at the gallery’s temporary space: a small, well-lit apartment in the Charlottenburg district. This superbly produced, oversized publication records both the works and their intimate installation with extraordinary gatefolds that scrutinize the sensuous surfaces of Brown’s paintings and sculptures. Full of technical virtuosity and grotesque exaggeration, these works based on reproductions of historical art include a traditional flower painting mutated into bouquets of orifices; a portrait of an old man in sickly colors; fragmented female torsos; and sculptures smothered in thick chunks of oil paint. The extraordinary tension between relish and repulsion achieved by the sculptures can provoke extreme reactions of delight or fascination, as this volume reveals.
Published by RM. Text by Dr. Lakra, Gabriel Orozco.
A refined woman gazes elegantly from the cover of a mid-twentieth-century Mexican magazine--its title, Blanca Sol, lays bare the publication's Eurocentric character--but the cover girl's loveliness is compromised by the penciled-in skull that replaces the right side of her face. In another image, a sleek gentleman who might otherwise be debonair becomes fearsome and fierce with the addition of a pattern of contoured lines, like Aztec facial tattoos, over his entire face. This is the work of Mexican artist Dr. Lakra, who superimposes mystical, ancient or funerary symbolism--gang tattoos, bones and skulls, Aztec warrior heads, spider webs, serpents and demons--onto vintage advertisements, girlie pinups, Japanese prints, baby dolls, cast skulls and the like, attaining an effect that resembles a Dia de los Muertos altar slyly erected in place of a kitchen table in the home furnishings section of a Mexico City department store. "In one way or another, the noncivilized human, the nonrefined, the primitive, is always being repressed, in a way that's almost criminal," Dr. Lakra, who also works as a tattoo artist, has said. "I think that through these themes you can define the essence of culture." This lavishly illustrated volume contains 120 color images of Lakra's work, plus a contribution from renowned Mexican artist Gabriel Orozco.
Born Jerónimo López Ramírez in 1972, Dr Lakra is an artist and tattooist based in Oaxaca, Mexico. Lakra has shown his work internationally, at Tate Modern in London, The Drawing Center and Andrew Kreps Gallery in New York, The Institute of Contemporary Art, Boston and elsewhere.
Published by The Museum of Modern Art, New York. Edited by Laurence Kardish. Text by Ulrich Döge, Thomas Elsaesser, Laurence Kardish, Claudia Lenssen, Eric Rentschler, Werner Sudendorff.
Published in conjunction with The Museum of Modern Art's presentation of 75 feature-length films from the Weimar era, many only recently restored, Weimar Cinema reconsiders the broad spectrum of influential films made in Germany between the World Wars. German and American films competed on the world market, and the stylistic accomplishments of the many German film artists who emigrated to Hollywood before Hitler took power deeply affected American cinema. Weimar Cinema is the first comprehensive survey of this period to include popular films--musicals, comedies, the "daydreams" of the working class--along with the nightmarish classics such as Fritz Lang's Dr. Mabuse der Spieler and M; F.W. Murnau's Nosferatu, eine Symphonie des Grauens; and G.W. Pabst's Pandora's Box. Richly illustrated with film stills, the book examines how and why our understanding of these films has changed in the last half century, and investigates important themes in films from this period, including the portrayal of women and the role of sound. Supplementing the essays is a detailed illustrated filmography of the 75 films featured in the exhibition; each film is accompanied by a brief description and excerpts from contemporaneous reviews.
Published by Hatje Cantz. Text by Werner Spies, Peter-Klaus Schuster, Dietmar Dath, Thomas W. Gaethgens.
Parallel to the film career for which he is justly admired, David Lynch (born 1946) has always worked as an artist, having trained in painting at the Corcoran School of Art and the School of the Museum of Fine Arts in Boston in the mid-1960s. Lynch's photographs, paintings, prints, drawings, and more recently, musical compositions, are an indispensable part of his oeuvre and frequently a source of inspiration for his films. Fans of such classics as Blue Velvet, Wild at Heart, Twin Peaks and Mulholland Drive will readily conjure the director's keen eye for lush but menacing neo-Surrealist tableaux, for instance, which are directly nourished by his artworks. Other hallmarks of the Lynchian style, such as cryptic messages and inscriptions, foreboding atmospherics and a famously left-field sense of humor likewise appear in the paintings, drawings and photographs collected in David Lynch: Dark Splendor--a landmark publication that reveals the breadth and accomplishment of his work in this realm. It contains such marvels as his matchbook drawings--pen-and-ink images of shrouded dreamscapes and interiors, inscribed on the inside of matchbooks--his wonderfully foreboding lithographs, in which scrawled captions jostle among murky figures, his photographs of industrial wastelands and his sinister paintings that incorporate materials and objects to further advance their gothic appeal. Dark Splendor presents these works in excellent reproductions, and will seduce fans of contemporary film and art alike.
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