Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm, Mette Marcus, Kirsten Degel, Jeanne Rank. Foreword by Poul Erik Třjner and Marion Ackerman. Introduction by Mette Marcus and Kirsten Degel. Text by Ruth Hemus.
Women of the Avant-Garde 1920–1940 presents eight female artists who made major contributions to Dada, Surrealism, Constructivism and other European avant-gardes of the modernist era: Claude Cahun, Sonia Delaunay, Germaine Dulac, Florence Henri, Hannah Höch, Katarzyna Kobro, Dora Maar and Sophie Taeuber-Arp. The artists are constellated in relation to one another across five themed sections that illuminate the nature of their respective innovations: “Composing Color,” “Constructing Space,” “Different Rules,” “New Identities” and “Another Reality.”
Published by Cooper Hewitt, Smithsonian Design Museum. Edited by Matilda McQuaid, Susan Brown. Text by Matilda McQuaid, Petra Timmer, Matteo de Leeuw-de Monti.
Painter, textile and stage designer and co-conspirator (with her husband Robert Delaunay) of the Orphist movement, Sonia Delaunay is a heroine of early modernist art and design. Known primarily as an abstract painter and colorist, Delaunay applied her talents and theories to all areas of visual expression, including graphics, interiors, theater and film, fashion and textiles. A characteristic of Delaunay's work is a vivid sense of movement and rhythm through careful color combination. Color Moves: Art & Fashion by Sonia Delaunay focuses not only on her art but also her avant-garde fashion designs for her Atelier Simultané in Paris during the 1920s, as well as textiles she designed for the Metz & Co department store in Amsterdam in the 1930s. The book features essays by Delaunay experts Matteo de Leeuw-de Monti, Matilda McQuaid and Petra Timmer, accompanied by more than 300 paintings, drawings, designs, textiles, garments and photographs. Born Sarah Ilinitchna Stern, in the Ukraine, Sonia Delaunay (1885-1979) was raised in St. Petersburg, in Russia. After a brief period of study in Germany, she moved to Paris in 1905, and began painting in the Fauve style of Matisse and Derain. In 1909 she met Robert Delaunay, and together they devised a brighter version of Cubism that their friend, the poet and art critic Guillaume Apollinaire, termed Orphism. Also among their friends was the poet Blaise Cendrars, and one of Delaunay's best-known works is her 1913 accordion-fold artist's book collaboration with Cendrars, La prose du Transsibérien. In addition to her prolific 75-year painting career, she created brilliant textiles and fashion works for nearly three decades.
Published by Aperture. Foreword by Marta Gili. Text by Cristina Zelich, Susan Kismaric, Giovanni Martini.
Florence Henri's work occupied a central place in the world of avant-garde photography in the late 1920s and this survey pays homage to the artist's essential contribution. Accompanying an exhibition at the Jeu de Paume, the volume offers an overview of Henri's work produced between 1927 and 1940, including her iconic self-portraits and still lifes as well as her lesser-known portraits of her contemporaries, photomontages, collages and documentary work. László Moholy-Nagy declared that "with Florence Henri's photos, photographic practice enters a new phase—the scope of which would have been unimaginable before today. Above and beyond the precise and exact documentary composition of these highly defined photos, research into the effects of light is tackled not only through abstract photograms, but also in photos of real-life subjects … Reflections and spatial relationships, superposition and intersections are just some of the areas explored from a totally new perspective...." Henri remains an inspiration for photographers, artists and design enthusiasts alike. Florence Henri (1893–1982) initially studied painting at the Academie Moderne in Paris. In 1928 she turned to photography after spending a semester at the Dessau Bauhaus. Henri continued to make photographs until World War II when the Nazi occupation of France forbade her photographic style and materials became difficult to source. She turned her attention to abstract painting and continued to paint until her death in the early 1980s.
BOOK FORMAT Hardcover, 9 x 11 in. / 224 pgs / 200 bw.
PUBLISHING STATUS Pub Date 6/23/2015 No longer our product
DISTRIBUTION Contact Publisher Catalog:
PRODUCT DETAILS ISBN 9781597113328TRADE List Price: $65.00 CDN $75.00
Published by RM/Museo Amparo/Jeu de Paume. Text by Petar Baki, Jean François Chevrier, Estrella de Diego, Juan Manuel Bonet, Norah Horna, Ángeles Alonso Espinosa.
The photographic oeuvre of Kati Horna (1912-2000) spans decades, geographical boundaries and visual practices. Horna witnessed the fall of the Austro-Hungarian Empire; the outbreak of World War I, which ousted her from Budapest--after which she moved to Berlin, then Paris; and the Spanish Civil War, after which World War II prompted her final move to Mexico, her adopted country. It was in Mexico that Horna found her artistic community, among the Surrealist ex-pats Leonora Carrington, Remedios Varo and Edward James. Even as a war photographer, she appropriated Surrealist photomontage, developing an original, intimate style of photojournalism. This superbly produced volume celebrates her extensive and diverse work, much of which has been previously unpublished or available only in limited circulation, and allows us to appreciate the incredible range of her oeuvre, from Surrealist to documentary photography. Featured alongside these photos are a chronology of Horna's life, essays by Peter Baki, Jean-Francois Chevrier, Estrella de Diego, Juan Manuel Bonet and Jos Antonio Rodriguez and a text by Horna's daughter, accompanied by documentary material from her personal archive.
Published by The Museum of Modern Art, New York. Edited with text by Roxana Marcoci, Sarah Meister. Text by Jodi Roberts.
Published to accompany the first US museum exhibition of the work of German-born Grete Stern and Argentinean Horacio Coppola, From Bauhaus to Buenos Aires explores the individual accomplishments and parallel developments of two of the foremost practitioners of avant-garde photography in Europe and Latin America. The book traces their artistic development from the late 1920s, when Stern established a pioneering commercial studio, ringl + pit, with her friend Ellen (Rosenberg) Auerbach, and Coppola began groundbreaking experimentations with photography in his native Argentina, to their joint studies at the Bauhaus and travels through Europe in the early 1930s, through the mid-1950s, by which time they had firmly established the foundations of modern photography in Buenos Aires. The couple effectively imported the lessons of the Bauhaus to Latin America, and revolutionized the practice of art and commercial photography on both sides of the Atlantic by introducing such innovative techniques as photomontage, embodied in Stern's protofeminist works for the women's journal Idilio, and through Coppola's experimental films and groundbreaking images for the photographic survey Buenos Aires 1936. Featuring a selection of newly translated original texts by Stern and Coppola, and essays by curators Roxana Marcoci and Sarah Meister and scholar Jodi Roberts, From Bauhaus to Buenos Aires is the first publication in English to examine the critical intersections that defined the notable careers of these two influential artists.
Grete Stern (1904–99) began taking private classes with Walter Peterhans—soon to become head of photography at the Bauhaus—in Berlin in 1927. In Buenos Aires during the same period, Horacio Coppola (1906–2012) initiated his photographic experimentations and in 1929 founded the Buenos Aires Film Club to introduce foreign films to Argentine audiences. His burgeoning interest in new modes of photographic expression led him to the Bauhaus in 1932, where he met Stern and they began their joint history. Following the close of the Bauhaus in 1933, Stern and Coppola fled Germany and established themselves briefly in London before embarking for Buenos Aires in 1935. There they mounted an exhibition in the offices of the avant-garde literary magazine Sur, announcing the arrival of modern photography in Argentina.
Roxana Marcoci is a Senior Curator in the Department of Photography at The Museum of Modern Art, New York.
Sarah Meister is a Curator in the Department of Photography at The Museum of Modern Art, New York.
Jodi Roberts is a scholar of Latin American art, and is currently a Curatorial Assistant in the Department of Painting and Sculpture at The Museum of Modern Art, New York.
Published by Exact Change. By Leonora Carrington. Introduction by Helen Byatt.
Leonora Carrington (1917–2011), the distinguished British-born Surrealist painter who made her home in Mexico City, was also a writer of extraordinary imagination and charm, and The Hearing Trumpet is perhaps her best loved book. It tells the story of 92-year-old Marian Leatherby, who is given the gift of a hearing trumpet only to discover that her family has been plotting to have her committed to an institution. But this is an institution where the buildings are shaped like birthday cakes and igloos, where the Winking Abbess and the Queen Bee reign, and where the gateway to the underworld is wide open. It is also the scene of a mysterious murder. Occult twin to Alice in Wonderland, The Hearing Trumpet is a classic of fantastic literature that has been translated and celebrated throughout the world.
Published by RM/Museo Casa Estudio Diego Rivera y Frida Kahlo. Text by James Oles, Adriana Zavala, Rachael Arauz, Deborah Dorotinsky, Ana Garduńo, Karen Cordero, Cecilia Olivares, Cristóbal Andrés Jácome, Javier Vázquez et al.
Lola Álvarez Bravo was a pioneer of photomontage and a leading figure--along with Frida Kahlo, Tina Modotti, Diego Rivera and others--in Mexico’s post-revolution cultural renaissance. Lola Álvarez Bravo and the Photography of an Era accompanies a touring exhibition presented at the Museo Casa Estudio Diego Rivera y Frida Kahlo in Mexico City, the Museum of Latin American Art in Long Beach, California and the Center for Creative Photography at the University of Tucson in Arizona, home of Álvarez Bravo’s archives. It gathers 100 photographs and includes her well-known portraits of Kahlo and Rivera as well as photographs only recently discovered in the González Rendón archive. The selection not only demonstrates the great richness of the material contained in the archive, but also throws new light on Álvarez Bravo’s working methods and provides a deeper understanding of the complexity of her career. The photographs convey her uses of Surrealism and photomontage (many examples of which are published here for the first time), as well as her mastery of various genres, from portraits of famous intellectuals and close friends to documentary images of urban and rural poverty in Mexico.
Born Dolores Martinez de Anda to wealthy parents in the state of Jalisco, Mexico, Lola Álvarez Bravo (1990–1993) was abandoned by her mother in her early youth; following her father’s death, in her teen years she was sent to live with the family of her half-brother in Mexico City. It was here that she met the young Manuel Alvarez Bravo, whom she married in 1925. She received her first commission in 1936, photographing the colonial choir stalls of a former church, and in 1951 she opened an art gallery and was the first person to exhibit the paintings of Frida Kahlo.
Published by Guggenheim Museum Publications. Edited by Jennifer Blessing. Essays by Nancy Spector, Judith Halberstam, Carole-Anne Tyler and Sarah Wilson.
The Guggenheim's classic study of photo-based artworks that question gender identity is back in print at last. This important volume, whose title combines Gertrude Stein's famous motto, "Rose is a rose is a rose is a rose," with the name of Marcel Duchamp's feminine alter ego, Rrose Selavy, features portraits, self-portraits and photomontages in which the gender of the subject is highlighted through performance for the camera or through technical manipulation of the image. In many of the works, photography's strong aura of realism and objectivity promotes a fantasy of total gender transformation. In other pieces, the photographic representation articulates an incongruity between the posing body and its assumed costume. Features work by Cecil Beaton, Brassa‘, Claude Cahun, Marcel Duchamp, Hannah Hŕch, Man Ray, Janine Antoni, Matthew Barney, Nan Goldin, Lyle Ashton Harris, Robert Mapplethorpe, Annette Messager, Yasumasa Morimura, Catherine Opie, Lucas Samaras, Cindy Sherman, Inez van Lamsweerde and Andy Warhol.