Published by Walther König, Köln. Edited by Michael Parke-Taylor. Text by Angie Littlefield, Dorothy Rowe, Sabine Kriebel.
Angelika Hoerle (1899–1923) and her artist husband Heinrich Hoerle were protagonists in the Dada movement in Cologne, alongside Max Ernst and Johannes Baargeld. Between 1919 and her tragic death from tuberculosis in 1923, Hoerle built an outstanding oeuvre of Dada collages, caricatures, linocuts and drawings—some of which was acquired by Katherine Dreier and Marcel Duchamp's famous Société Anonyme collection, with other works going to the Art Gallery of Toronto, and the rest of which was sadly destroyed by the Nazis as “degenerate art.” Hoerle brought to Cologne Dada's ranks a fully formed Marxist and feminist politics, and when Dada proved too dogmatic to contain her, she and Heinrich formed the breakaway “Stupid Group.” The Comet of Cologne Dada situates Hoerle among the artistic and political ferment of Weimar Germany, as a key figure whose artistic drive and political conscience were unthwartable and exemplary.
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.
Man Ray found the surreal in the commonplace, particularly in the female form, and this has made his photography some of the world's most accessible and recognizable: his ubiquitous La Violin d'Ingres creates a cello from a woman's torso with the addition of curliqued vents inked on her sides; his classic image of shining cinematic tears glistening on a powdered cheek has been tucked into mirror frames all over the world. This collection of more than 130 pictures dated between 1920 and 1950 covers not only Ray's work as one of the world's leading avant-garde artists--he was a tireless experimenter who participated in the Cubist, Dadaist and Surrealist art movements--but also his commercial work. It includes fashion photography and advertising images; portraits of many artists, including Marcel Proust, Marcel Duchamp and Andre Breton; and a portfolio of 26 Femmes. Art dealer Giorgio Marconi, who met May Ray in 1966 in Milan, contributes an insightful interview.
Emil Nolde kept close ties to Berlin: from 1905 on, he usually spent the winter months in the capital. The painter had his own live-in studio first on Tauentzienstrasse and then later on Bayernallee, in a building that was later destroyed, in a bombing raid in 1944. In the late 1920s, Nolde even asked van der Rohe build a house for him in Dahlem. This plan was never realized, but in many of his paintings, Berlin's character plays an important role. In gathering works by Nolde around a particular theme, this large monograph revives a DuMont tradition. Nolde's vivid pictorial creations are accompanied by numerous documents relating to his various stays in Berlin and the importance of the “Deutsches Theater” and Expressionist dance for his art.
Between 1921 and 1933, while painter Otto Dix was in his 30s and early 40s--in the years following the Great War, in which he had fought for Germany at the Somme, and which had driven him to make some of the most controversial, violent art of his generation--Dix put much of his artistic energy into portraits of his lover and later wife, Martha. The paintings, watercolors, drawings and humorous sketches brought together here show Martha Dix advancing through roles as a sophisticated, emancipated woman; as lover, muse, and intellectual companion; and then as mother and heart of the family. The painter's widely varying attitudes toward his most frequent model, which range from admiration and intimacy to increasing distance, transpose themselves into a myriad of styles. The titles of the works, which range from emotionally charged imagery to matter-of-fact description, underscore this shift. Martha Dix's portraits, organized here by the Otto Dix Foundation she helped to found, document the urbanity, shifting gender roles, fashions, arts and artistic and social freedoms that bloomed in the 1920s, as well as Otto Dix's shifting perspectives and techniques. Comes with a sexy garter-esque ribbon page-marker.
Published by Hatje Cantz. Edited by Anton Holzer, Frauke Kreutler. Text by Heike Herrberg, Astrid Mahler.
Working in the golden age of modernism in Vienna, the photographer Trude Fleischmann (1895-1990) was famed in her lifetime for her portraits of intellectuals, artists, composers and musicians such as Karl Kraus, Alban Berg, Adolf Loos, Arturo Toscanini and Max Reinhardt. One of a (very small) number of young, confident Jewish female photographers defying convention to open their own studios in Vienna after World War I, Fleischmann forged her own career in what was then considered an exclusively male profession, and was much admired by her contemporaries for doing so. Her studio became a meeting place for members of Vienna's intellectual and cultural elite, until 1938 when she was forced to flee Nazi persecution. After brief stints in Paris and London, Fleischmann permanently relocated to New York, where she managed to open a studio and build a successful second career. This book focuses on the photographer's Viennese period from 1920 to 1938 and contains many previously unpublished portraits, travel photos and photojournalistic works, as well as her famous motion studies of dancers and nudes.
Published by La Fábrica. Edited and text by Noriko Fuku, John P. Jacob.
Unconcerned But Not Indifferent is one of the most beautifully produced and revelatory monographs on Man Ray ever published. It draws exclusively on one of the largest Man Ray archives, that of the Man Ray Trust, which has remained largely unexcavated since it was brought to the U.S. in the late 1990s, and whose full scope has never before been published. The book is structured chronologically across the four phases of Man Ray's working life, in New York, Paris, Los Angeles and Paris again. Works reproduced here range from typographic studies done in 1908, through paintings, objects and sculptures to Man Ray's pioneering photography, from the "Rayographs" (abstract photographs produced from found objects) and "Solarizations" (a procedure of tonal reversion developed by Man Ray and Lee Miller), to his fantastic portraits of André Derain, Erik Satie, Juan Gris, Pablo Picasso, Jean Cocteau, Hans Bellmer, Joyce Mansour and many others--plus many rare images from his L.A. years. It also features supplementary materials to works and a useful chronology. As an object, Unconcerned But Not Indifferent is unmistakably a labor of love, from its contents to its binding (the cloth front board features an embossed emblem of the artist's bowler hat, and the paper for both plates and text is especially fetching), and a model of what a monograph can be. The artist known as Man Ray was born Emmanuel Radnitzky in Philadelphia, in 1890. A nomadic soul, like his lifelong friend Marcel Duchamp, Man Ray relocated many times throughout his life, and likewise stopped short of joining the ranks of either Dada or Surrealism, though he was informally close to both movements. He died in 1976 and was buried in in the Cimetière du Montparnasse in Paris. His epitaph reads: "unconcerned, but not indifferent."
Published by Hatje Cantz. Edited by Felix Krämer. Text by Javier Arnaldo, Max Hollein, Sandra Oppmann, et al.
Ernst Ludwig Kirchner painted city life as a joyous, bustling pageant, a sophisticated swirl of desiring bodies and colorful urbanity, giving Germany an energetic iconography for the glory days of modernity. One of the four founders of Die Brücke (The Bridge), Kirchner drew on German Renaissance art to conjure expressive exaggerations of face and posture, and brought to landscape painting a city-dweller's zest, imbuing tranquil scenery with riotous energy. Coinciding with a Kirchner retrospective at the Städel Museum--the first to be seen in Germany in 30 years--this massive volume surveys the artist's several creative phases and genres. It features the famous nudes made during the Die Brücke era, his classic scenes of frenetic Berlin city life and Swiss mountainscapes from Davos, along with lesser-known canvases, works on paper and sculpture. With essays by renowned art historians, this definitive monograph offers fresh perspective on the continued relevance of Kirchner. Born in Bavaria, Ernst Ludwig Kirchner (1880-1938) studied architecture in Dresden, where he met the young painter Fritz Beyl. With Beyl, Karl Schmidt-Rottluff and Erich Heckel, Kirchner founded the group known as Die Brücke. Casting aside the then-prevalent academic style of painting, Kirchner and his friends allied themselves with early Renaissance artists such as Albrecht Dürer, Matthias Grünewald and Cranach the Elder, and revived older media such as woodcut printing. Kirchner briefly saw army service in the First World War, but suffered a nervous breakdown and was discharged. In the interbellum years Kirchner's reputation grew enormously, until the Nazi regime branded his art degenerate: in 1937 over 600 of his works were sold or destroyed. In 1938, despairing of this destruction and the general political climate, Kirchner committed suicide.
Published by National Gallery of Art, Washington/D.A.P.. Edited by Leah Dickerman. Preface by Earl A. Powell. Text by Leah Dickerman, Dorothea Dietrich, Brigid Doherty, Sabine T. Kriebel, Janine Mileaf, Michael R. Taylor, Matthew S. Witkovsky.
The authoritative volume on the Dada movement, from Berlin to New York
PUBLISHER National Gallery of Art, Washington/D.A.P.
BOOK FORMAT Paperback, 8.5 x 12 in. / 536 pgs / 403 color / 217 bw
PUBLISHING STATUS Pub Date 3/1/2008 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 61
PRODUCT DETAILS ISBN 9780894683138TRADE List Price: $29.95 CDN $45.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.