Published by Hatje Cantz. Edited by Nina Schleif. Text by Marianne Dobner, Burcu Dogramaci, Simone Förster, Birgitta Heid, Lucy Mulroney, Susan M. Rossi-Wilcox, Anna Rühl, Nina Schleif, Jordan Troeller, Reva Wolf, Matt Wrbican.
Warhol as publisher, author, book artist and illustrator
Published by Hatje Cantz/David Zwirner/Regen Projects. Text by Benjamin H. D. Buchloh.
Since the late 1970s, as a pioneer of Southern California underground culture, Raymond Pettibon has blurred the boundaries of "high" and "low," from the deviations of marginal youth to art history, literature, sports, religion, politics and sexuality. Rich in detail, his obsessively worked drawings pull freely from myriad sources spanning the cultural spectrum. The resulting, highly poetic constructions function as acute reflections of contemporary society. Throughout the years, his subjects have included political figures and historical events, with particular intensity since the events of September 11, 2001. Seen here are images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush presidents, the Kennedys, Hitler, scenes from the Vietnam War and protest movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu Ghraib, President Obama and Osama bin Laden. Raymond Pettibon (born 1957) studied economics at UCLA around the same time he joined his brother in the punk band Black Flag. He soon began to contribute artwork to album covers, flyers and t-shirts, for the band and its label, SST Records, and exhibited his work in group shows in galleries in the 1980s. Since the 1990s his work has been the subject of numerous major solo exhibitions.
Published by Hatje Cantz. Edited by Hubertus Gassner, Brigitte Kölle, Petra Roettig. Text by Renate Petzinger, Tom Doyle, Doug Johns, Brigitte Kölle, Lucy Lippard, Robert Mangold, Sylvia Mangold, Cindy Nemser, Petra Roettig, Franz Erhard Walther.
Eva Hesse (1936–1970) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. From November 2013 onward, the Hamburger Kunsthalle is presenting the first solo exhibition of Hesse’s work in her native city. Hesse emigrated with her family via the Netherlands and England to the United States in 1938. They settled in New York City, where she later studied painting at the Cooper Union School of Art from 1954 to 1957, and then continued her studies in the master class of Josef Albers at the Yale School of Art and Architecture from 1957 to 1959. At the invitation of Friedrich Arnhard Scheidt, a German industrialist and art collector, and his wife Isabel, Hesse and her husband Tom Doyle spent a year in Kettwig an der Ruhr during 1964–1965. This period is regarded as a turning point in Hesse’s artistic practice. Drawing inspiration from the materials she found in an abandoned textile factory in Kettwig, she made her first three-dimensional artworks, and when she returned to New York she devoted herself exclusively to sculpture, creating fragile works in unconventional materials such as polyester, fiberglass and latex. Hesse died of a brain tumor in 1970, aged just 34. The exhibition at the Hamburger Kunsthalle focuses on the latter part of the artist’s career, a highly productive period in which she created a substantial number of sculptures and drawings.
Published by Hatje Cantz. Edited by Ulf Küster. Text by Ulf Küster, Richard Shiff.
The works of the painter Peter Doig, who divides his time between Trinidad, London and New York, are densely atmospheric and sometimes uncanny. They are often based on found or private visual material, which the artist pieces together in dreamlike compositions suffused with melancholy and angst. Employing an unusual color palette and possessing an immense sensitivity for his medium, Doig follows in the footsteps of masters such as Paul Gauguin, Pierre Bonnard and Henri Matisse. This publication presents Doig as an artist with a conceptual practice, a visual thinker who is not only fascinated by the history of painting but also the process of painting itself. The large-format paintings and works on paper reproduced in this volume, selected from Doig's entire career, allow the viewer to share his creative passion and his enthusiasm for the power of painting.
Born in Edinburgh in 1959, Peter Doig was raised in Canada and spent two decades in London before moving to Trinidad. Doig graduated from St. Martin's School of Art in 1983 and the Chelsea School of Art in 1990. Hovering between abstraction and figuration and rendered in a rich, sometimes anti-naturalistic color palette, Doig's sumptuous paintings are loved by both critics and collectors alike. Doig was nominated for the Turner Prize in 1994 and his work was included in the 2006 Whitney Biennial. The artist made headlines in February 2013 when his painting "The Architect's Home in the Ravine" sold for $12,000,000 at a London auction, breaking his previous record.
Published by Hatje Cantz. Text by Michael Sheridan.
The human being was at the center of Danish modernism. Traditional craftsmanship and a high degree of quality influenced both its design and its architecture. Alongside the construction of numerous groundbreaking public buildings, the 1950s and 60s saw the design of many single-family homes based on an aesthetic that focused on truth to materials, honesty in construction and the reduction of form. Built of wood and brick and with practical, informal floor plans and large glass surfaces that opened up the interior of the house to nature, the best of these homes still fulfill their tasks to this day. Landmark: The Modern House in Denmark is a compendium of selected buildings examined in detail, including icons such as Utzon House by Jørn Utzon, Arne Jacobsen's Siesby House and the Bøgh Andersen House by Jørgen Bo and Vilhelm Wohlert. It includes new, full-color photographs that document the buildings as well as discussions on the history of each one's design and construction. Biographies of the architects round out the volume.
Published by Hatje Cantz. Edited by Henriette Dedichen.
Warhol’s Queens combines the artist’s portraits of actual female royalty with images of drag queens. For Warhol (1928–1987), both these genuine and fake queens epitomized idealized femininity, devoting their lives to presenting an unattainably glittering pageantry to the public for (not all too) close inspection. This volume juxtaposes Warhol’s Polaroids of Princess Caroline of Monaco, Farah Diba Pahlavi and the then-Crown Princess Sonja, of Norway, with drag queens, whom Warhol characterized as “living testimony to the way women used to want to be, the way some people still want them to be and the way some women still actually want to be.” The intense faces with their exceptionally colored lips, eyes and hair are both aloof and strangely intimate. With its in-depth scholarly essays, this book is essential for fans of Warhol’s portraiture and camp culture. With text by Hubertus Butin, Clément Chéroux, Henriette Dedichen, Dietmar Elger, and Matt Wrbican.
Published by Hatje Cantz. Text by Raphael Bouvier, Lukas Gloor, Sam Keller, Martin Schwander, Alastair Wright.
The Post-Impressionists counted among their number a good many painters who were both determined and unconventional, and who went their own separate aesthetic ways, refusing to be subsumed by any categorization. Like Vincent van Gogh, Paul Gauguin was a particularly uncompromising example of this tendency. His quest for an independent artistic stance and an authentic lifestyle took the former stockbroker from Paris to Brittany before he made the decision to travel to Polynesia. Simplified forms, expressive colors and emphatic two-dimensionality characterize his seminal paintings. Today these count among the world's most treasured artworks. This extensive publication traces Gauguin's artistic development through reproductions of his masterworks of both painting and sculpture—from the multifaceted self-portraits and sacred paintings of his period in Brittany, and the idyllic, wistful paintings and archaic, mystical sculptures from Tahiti, to the late works made during his last years on the Marquesas Islands. In addition to its thorough investigation of Gauguin's multifaceted oeuvre, the volume also analyzes his influence on modern and contemporary artists.
Paul Gauguin (1848–1903) was born in Paris and made his first extended voyage in 1866, embarking on a round-the-world journey. He began painting and drawing in 1871, quickly becoming acquainted with the Impressionist movement and attending a private art school. He participated in the fourth Impressionist exhibition (1879), soon after which he met Cézanne, while on holiday in Pontoise. He moved to Tahiti in 1891, where he made some of his best-known works, and died there in 1903.
Almost 300,000 people worked for the STASI, the East German secret police--per capita, far more than are or were employed by agencies such as the CIA or the Soviet Union’s KGB. More than 50 years after the Berlin Wall was erected, German photographer Simon Menner (born 1978) unearthed an extraordinary cache of photographs in the STASI archives that document the agency’s surveillance work. These state-approved photographs show officers and employees posing in professional uniforms, wearing unconvincing fake beards and moustaches, or signaling to each other with their hands. Once top secret, and now preposterous, these images are both comical and sinister. Until now, nobody has attempted a visual study of the activities of the State Security. For Simon Menner, the undertaking is more suited to artists and philosophers than to historians.
Published by Hatje Cantz. Text by Hans Ulrich Obrist.
"Passengers, airliners, workers, baggage, cargo, taxis and trains flow ceaselessly through Kennedy International Airport. Taryn Simon recorded another ceaseless flow¬—one the public rarely sees: contraband detained and seized from international flights.” –The New York Times
Leendert Blok experimented with color photography and the use of the panoramic format. In the 1920s, the Dutch photographer worked in close collaboration with flower producers, providing color prints and autochromes for the display catalogues of the various species they cultivated. Blok portrayed flowers as objects of desire, using the Autochrome Lumière technique. For Blok, photography related above all to the gaze. Muted tones and soft bronze hues reveal a timeless world of flora, in which corolla, petals and buds are sublimated by chiaroscuro. The flowers stand out against a plain dark background, alluding to the famous vanitas genre of the Dutch Golden Age. Tulips, dahlias, daffodils, irises, hyacinths and peonies reveal themselves in all their glorious diversity. Blok's photographs are reminiscent of botanists' slides of yore, immersing us in the immanence of plant life, in which each flower becomes a sculpture.
Leendert Blok (1895-1986) was born in Holland and studied journalism in South Africa before returning to Lisse, near Amsterdam, where he established his Photo Technischbureau company, for which he procured work from nearby horticulturalists, producing their display catalogues while experimenting with panoramic formats and color photography. From 1925, when the use of color photography was relatively rare, he began using the autochrome technique, which involved making composite images from three-color separations on glass plates with potato starches. The resulting images could not be duplicated.
Published by Hatje Cantz. Edited by Joachim Jäger. Text by Stacen Berg, Michael Diers, Donatien Grau, Nick Herman, Joachim Jäger.
This handsome new book by Paul McCarthy (born 1945) highlights a major new work that refers to both the physical and the mental space of artistic creativity. The Box is McCarthy’s reflection on the phenomenon of the artist’s studio. As inconspicuous as any other plain moving box from the outside, the interior of the work reveals a striking, barely comprehensible diversity of things that inhabit this intimate and ever-changing incubator for artistic ideas. First, McCarthy constructed a model of a barn-like space in Pasadena, California, which served as his studio during the 1970s. Turned on its side 90 degrees, along with its approximately 3,000 objects--from a bulky steel cabinet to a pencil--the work compels a disorienting shift of perception in the viewer, which is impressively extended into the tactile quality of the book and its abundance of images.
Published by Hatje Cantz. Text by Anne-Louise Sommer.
Among the great Danish designers, Finn Juhl (1912–89) ranks alongside such giants as Hans J. Wegner and Arne Jacobsen. He was particularly well known for his sculptural, seemingly organic tables, chairs and sofas, but the complex interior designs that he developed in the 1940s and ‘50s were also enormously successful. These include the Danish Embassy in Washington, DC, and the conference room of the United Nations Trusteeship Council in New York.
However, it is not widely known that Finn Juhl was also a talented watercolor painter who used the medium to devise gorgeous, exacting sketches of his pieces. For the first time, this publication allows readers to take a unique look at the designer’s working methods. Here, more than 125 subtle works on paper communicate the ingenuity of their creator. Finn Juhl’s furniture classics, living concepts and interior designs can finally be experienced in all their complexity, as one traces their development from genesis to realization.
Published by Hatje Cantz. Introduction by Hiroshi Sugimoto. Text by Klaus Ottmann.
The meticulous practice of photographer Hiroshi Sugimoto (born 1948) is like that of a painter's. Inspired by Marcel Duchamp's obsession with the mechanics of space and the mathematical foundations of his works, such as "The Bride Stripped Bare by Her Bachelors, Even" (or "The Large Glass"), Sugimoto photographed nineteenth-century mathematical models from the collection at the Komaba Museum at the University of Tokyo, which also features the third and last authorized replica of Duchamp's "Large Glass." Like the models that Man Ray photographed in the 1930s at the Institut Henri Poincaré in Paris, these objects also require a visual understanding of complicated trigonometry functions. This is the first publication to compare and contrast Sugimoto's photographs of mathematical models with his own mathematical models—computer-controlled precision tools made of aluminum.
Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards expresses a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetic captions, some of which elucidate what is depicted while others lightly supplement with an anecdote. This new edition of Places, Strange and Quiet features seven new photographs taken in Germany and Fukushima as well as an essay by Wenders on analogue and digital photography.
Published by Hatje Cantz. Edited by Jean-Louis Cohen. Text by Staffan Ahrenberg, Daniel Birnbaum, Jean-Louis Cohen, Catherine Dumont d'Ayot, Genevieve Hendricks, Johan Linton, Pascal Mory, Danièle Pauly, Bruno Reichlin.
Charles-Édouard Jeanneret, known as Le Corbusier, had an unparalleled influence on the design, function and construction of twentieth-century buildings, both public and residential. In addition, he was an artist and designer--an aspect of his creativity which was somewhat eclipsed by his architectural renown. Le Corbusier had originally intended to be a painter and his early studies were primarily focused on art and decoration. For more than five decades, Le Corbusier oscillated between contradictory poles: his fascination with mechanical objects on the one hand, and his search for poetic form on the other. The intermingling of his more private aesthetic pursuits and his more public works took place in his “secret laboratory,” inside his artist’s studio. This volume consolidates the diverse facets of his oeuvre, offering a more complete understanding of his paintings, drawings, sculptures, tapestries, furniture, architectural sketches and plans--as well as his books and photographs. In tying together these disparate strands, we gain greater insight into the path of his overall creative evolution. This unified overview is revealing both for scholars of Le Corbusier’s work and for all those seeking a better understanding of this exceptionally talented and significant historical figure. The book’s five chapters cover a wide spectrum, ranging from the purist paintings and early villas to Le Corbusier’s later reinterpretation of his values and his final works.
Perhaps the most important visionary of modern architecture, the Swiss-born Le Corbusier (1887–1965) broke new ground in reimagining residences, workplaces and urban environments--aiming to provide an enhanced quality of life for all--especially for the poorer classes. Prolific and an enthusiastic traveler, his work can be found at locations throughout Europe, India and America.
Published by Hatje Cantz. Text by Dietmar Elger, Hubertus Butin.
No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. "I felt like painting something beautiful" was the artist's response, when asked about the preponderance of landscapes in his works around 1970. Fifteen years later, he further elaborated that "my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'... by untruthful I mean the glorifying way we look at Nature--Nature, which in all its forms is against us, because it knows no meaning, no pity, no sympathy..." Richter's approaches to landscape are various indeed, yet uniquely and recognizably his. The first edition of Gerhard Richter: Landscapes was published in 1998; it quickly sold out, was reprinted in 2002 and rapidly went out of print again. This new edition is the first to expand on the 1998, and brings us up to date with Richter's enduring fondness for this subject.
Gerhard Richter was born in Dresden in 1932, and rose to prominence in the early 1960s as a member of the Capitalist Realism movement alongside Sigmar Polke and others. His first solo show was in 1964 at Galerie Schmela in Düsseldorf. Today he is ranked among the world's greatest painters.
Incremental Housing and Participatory Design Manual
Published by Hatje Cantz. Text by Alejandro Aravena, Andrés Iacobelli.
What began as an academic initiative to improve the quality of life of the poor strata of the population has now become a professional “do tank” offering services that cover the entire spectrum of urban development. The celebrated Chilean architect, winner of the 2016 Pritzker Prize and Director of the 2016 Venice Architecture Biennale, Alejandro Aravena (born 1967) founded Elemental in 2001 in his hometown with the goal of alleviating social deprivation directly instead of hoping for a balance of income relations. Besides building public facilities and public housing, Elemental also develops new approaches for the reorganization of resources and the potential of cities by means of projects devoted to infrastructure and transportation. This volume, first published in 2013 and now back in print, documents the social activity and history of the international architectural team and sheds light on its financing strategies, for example through participatory building.
Published by Hatje Cantz. Edited by Alex Lehnerer. Foreword by Robert E. Somol. Text by Jayne Kelley, Alex Lehnerer, Jared Macken, Lorenzo Stieger.
The Western town of roughly 1860–90 exists in an ephemeral moment in American history. Always being realized but never really there, these towns vanished entirely from the prairie by the end of the nineteenth century. Yet even today everyone has visited these towns, since they survive in their abstract and distilled form through the plot-generating sets of Western movies. The Western Town: A Theory of Aggregation retells the story of 22 Western towns architecturally, from the scale of the lace curtain or sun-bleached wood coffin to the vast, empty desert. The book includes detailed maps of towns from the following films, among others: A Fistful of Dollars (1964), Buchanan Rides Alone (1958), For a Few Dollars More (1965), Fort Apache (1948), Hang ‘Em High (1968), High Noon (1952), High Plains Drifter (1973), Major Dundee (1965), McCabe and Mrs. Miller (1971), Ride the High Country (1962), Rio Bravo (1959), Rio Grande (1950), Stagecoach (1939), The Alamo (1960) and The Wild Bunch (1969).
Published by Hatje Cantz. Edited by Ulrich Luckhardt, Christian Ring. Text by Caroline Dieterich, Daniel J. Schreiber, Roman Zieglgänsberger.
Emil Nolde (1867–1956) is famous for his dramatic ocean views and colorful flower gardens, but his love of the fantastical and grotesque has received less attention. Yet it is clear from his autobiography and his letters that they had a significant impact on his art. Alongside his first oil painting, “Bergriesen” (“Mountain Giants,” 1895–96), his alpine postcards of this period, in which the Swiss mountains appear as bizarre human physiognomies, also convey his fascination with the fantastical. His rejection of realism in favor of a grotesque, alternative world can be seen throughout his oeuvre, from its beginnings to the Grotesken (1905) and watercolors from 1918–19, to the years under the Nazis when he was forbidden to practice his profession. This catalog, which includes works never before shown, is also the first to emphasize this fascinating side of the great painter and water-colorist.
Published by Hatje Cantz. Foreword by Sam Keller. Text by Matthew Drutt, et al.
This exhibition celebrates that groundbreaking moment in the history of modern art when Kazimir Malevich debuted his new nonobjective paintings—including the “Black Square”—under the banner of Suprematism and Vladimir Tatlin introduced his revolutionary counter-relief sculptures. Malevich and Tatlin were bitter rivals and diametrically opposed in their creative thinking, so when the exhibition 0,10: The Last Futurist Exhibition of Painting, organized by fellow artist Ivan Puni, was launched in Petrograd in 1915, the other 12 artists in the show (Ivan Puni, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nathan Altman, Vasily Kamensky, Vera Pestel, Maria Ivanovna Vasilieva, Anna Michailovna Kirillova and Mikhail Menkov) chose sides. It was a stylistically diverse exhibition, with Cubist-inspired works and the first nonobjective paintings and reliefs. In Search of 0,10 accompanies a show at the Fondation Beyeler, which includes a large number of the works from the original exhibition. The catalogue features essays by exhibition curator Matthew Drutt and other leading scholars, as well as documents gathered together and translated for the first time.
Published by Hatje Cantz. Edited with text by Nancy Borowick. Introduction by James Estrin.
When American photojournalist Nancy Borowick’s (born 1985) parents Howie and Laurel were diagnosed with stage-four cancer and underwent simultaneous treatment, she did the only thing she knew how to do: she documented it. By turning the camera on her family’s life during this most intimate time, Borowick learned a great deal about herself, family and relationships in general. Borowick's father died in 2013, and her mother followed 364 days later. The lessons she garnered from Howie and Laurel were plentiful: always call when the airplane lands, never pass on blueberry pie, and most importantly, family is love and love is family.
“Though it is nothing she would have wished for, in a relatively short time Nancy Borowick became an expert in photographing death.” —The New York Times