Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
Clth, 8.75 x 11.5 in. / 700 pgs / illustrated throughout. | 9/30/2013 | In stock ISBN 9788887029550 | $120.00
Published by Guggenheim Museum Publications. Edited with text by Tracey Bashkoff. Contributions by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss.
Hilma af Klint's daring abstractions exert a mystical magnetism
When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice—one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.
Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint: Paintings for the Future represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art—a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the exhibition.
Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.
Tracey Bashkoff is Director of Collections and Senior Curator at the Solomon R. Guggenheim Museum, New York. Bashkoff joined the Guggenheim in 1993 and has contributed to over 15 special exhibitions covering a range of 20th-century subjects. She completed her graduate studies at Northwestern University where she received a Mellon Fellowship in Art Objects. In 2014, she was a fellow for the Center for Curatorial Leadership.
Tessel M. Bauduin is a postdoctoral researcher and lecturer in the Department of Cultural Studies of the Faculty of Arts at Radboud University, Nijmegen, Netherlands. Her postdoctorate project funded by The Netherlands Organization for Scientific Research, brings together medieval art and the modern avant-garde, focusing on the reception of and the construction of medieval art in modernity, specifically in Surrealism.
Daniel Birnbaum is the Director of the Moderna Museet, Stockholm. He has a doctorate in philosophy from Stockholm University. He was the Co-Curator of the 50th Venice Biennale in 2003 and the Director of the 53rd Venice Biennale in 2009. Birnbaum has held the position of Rector at the Städelschule Fine Arts Academy at Frankfurt at Maim in Germany and has also actively written for Art Forum.
Briony Fer is Professor of Art History at University College London. Her books include Gabriel Orozco: Thinking in Circles, Eva Hesse Studiowork, The Infinite Line: Re-making Art after Modernism, and On Abstract Art. She has written extensively on 20th- century and contemporary art. Fer has also curated numerous exhibitions, such as the recent show of Gabriel Orozco at the Fruitmarket Gallery in Edinburgh in 2013.
Vivien Greene has been a Guggenheim curator since 1993 and specializes in late 19th and early 20th century European art with concentrations in Italian modernism and international currents in turn-of-the-century art and culture. She most recently organized the exhibitions Italian Futurism, 1909–1944: Reconstructing the Universe (2014) and The Avant-Gardes of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and Their Contemporaries (2013). She has a Ph.D. in art history, with a focus on 19th-century European art.
David Max Horowitz is Curatorial Assistant at the Solomon R. Guggenheim Museum.
Andrea Kollnitz is Assistant Professor at the Department of Media Studies at Stockholm University. She wrote her doctoral thesis on German and Austrian Modernism in Swedish Art Criticism.
Published by Koenig Books. Edited by Kurt Almqvist, Louise Belfrage. Text by Daniel Birnbaum, Briony Fer, Branden W. Joseph, David Lomas, Hans Ulrich Obrist.
Thanks to the efforts of various international curators and artists, Swedish painter Hilma af Klint (1862–1944) is now widely regarded as a pioneer of abstract art.
This volume reproduces the last abstract images series made by af Klint in the 1920s, which have never before been published in their entirety.
These images are complemented by essays based on lectures delivered during the exhibition Hilma af Klint: Painting the Unseen, at London’s Serpentine Galleries in 2016. Briony Fer, David Lomas, Branden Joseph, Hans Ulrich Obrist and Daniel Birnbaum shed new light on af Klint and her importance for artists today, also addressing the need for a broader conception of art history that her work proposes.
Published by Koenig Books. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Daniel Birnbaum, Jennifer Higgie, Julia Voss.
Working before Kandinsky and Malevich, Hilma af Klint was arguably the first abstract painter
Hilma af Klint graduated from the Royal Academy of Fine Arts in Stockholm in 1887, established a studio in the city, and began creating and exhibiting traditional landscapes, botanical drawings and portraits. Privately, however, af Klint was already beginning to discard what she had learned at the Academy in favor of painting the invisible worlds hidden within nature, the spiritual realm and the occult.
As early as 1906, af Klint was working with abstract imagery--giving her a lead of several years in the modernist race to be the first to discover abstraction. She joined a group of four other female artists, “The Five,” which held séances and experimented with automatic writing and drawing--decades before the Surrealists would do something similar.
In 1905, af Klint received a “commission” from the mysterious entity Amaliel to create her most important body of work: The Paintings for the Temple. Hilma af Klint: Painting the Unseen focuses on this important series, consisting of 193 predominately abstract paintings in various series and subgroups. Claiming to act as merely a medium for spiritual forces guiding her hand, af Klint painted a path towards a harmony between the spiritual and material worlds; good and evil; man and woman; religion and science.
Swedish painter Hilma af Klint (1862–1944) is now regarded as a pioneer of abstract art. Though her paintings were not seen publicly until 1987, her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich.
Published by Hatje Cantz. Edited by Iris Müller-Westermann. Text by David Lomas, Iris Müller-Westermann, Pascal Rousseau, Helmut Zander, et al.
Just before her death in 1944 at the age of 81, the Swedish painter and mystic Hilma af Klint stipulated that her paintings were not to be publicly exhibited for 20 years. In fact, another 40-plus years were to pass before inklings of her vast oeuvre began to reach public consciousness, with the landmark 1987 exhibition and book The Spiritual in Art. Since then, critics, artists and historians have praised her with ever-increasing awe, and today af Klint’s paintings, watercolors and sketches--numbering over 1,000 in total--have never looked so contemporary, presaging as they do the works of Beatriz Milhazes, Elizabeth Murray and Tal R., and Agnes Martin, Emma Kunz and Arthur Dove before them. For af Klint herself, as a medium for an art she was despairingly unable to comprehend, contemporaneity was irrelevant: her work--much of which was dictated by a spirit guide named Ananda--unfolded in complete ignorance of Kandinsky, Malevich or Mondrian, who likewise practised an abstraction informed by theosophy and occult philosophy. Af Klint’s abstractions preceded those of Kandinsky, who is usually credited with inventing abstract painting: as early as 1906, she was devising large-scale canvases filled with grids, circles, spirals and petal-like forms--sometimes diagrammatic, sometimes biomorphic. She was painting watercolor monochromes in 1916, and making automatic drawings long before the Surrealists. This monumental 280-page monograph, with 200 color plates, is the first full Hilma af Klint overview. A landmark publication, it not only reveals the moving lucidity of her art, but challenges the narrative of abstract art in the twentieth century.
Published by Walther König, Köln. Text by Daniel Birnbaum, Ann-Sofi Noring.
The first painter to devote herself entirely to abstract art, Hilma af Klint (1862-1944) created a body of work that has only recently begun to be appreciated for its visionary intensity and innovation. The Legacy of Hilma af Klint reproduces in its entirety a previously unknown 1920 notebook by af Klint. Titled "Blumen, Moose, Flechten" [Flowers, Mosses, Lichen] on the front cover, this notebook lays out the artist's occult geometric extrapolations of nature, in diagrams and handwritten commentary (in German). The second part of this volume gathers responses to af Klint's work (visually and in essays) by nine contemporary artists: Cecilia Edefalk, Karl Holmqvist, Eva Löfdahl, Helen Mirra, Rebecca Quaytman, Amy Sillman, Fredrik Söderberg, Sophie Tottie and Christine Ödlund. The book is published on the occasion of af Klint's inclusion in the 2013 Venice Biennale.
Published by Fondazione Prada. Edited by Germano Celant. Introduction by Miuccia Prada. Preface by Miuccia Prada, Patrizio Bertelli. Text by Gwen L. Allen, Pierre Bal Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert. Interviews with Thomas Demand, Rem Koolhaas.
In a daring act of historical reconstruction, the curator Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, has recreated Harald Szeemann’s epochal Live in Your Head: When Attitudes Become Form, held at the Bern Kunsthalle in 1969, and installed by Celant at the magnificent Ca’ Corner della Regina in Venice in June–November 2013. Szeemann’s show was a dialogue with the Bern Kunsthalle, and Celant has reprised its spirit by placing the works in dialogue with the Ca’ Corner della Regina--a very different building, in its Venetian grandeur, to the Kunsthalle. This publication is divided into three parts: the first reproduces photo documentation of the original exhibit, the second compiles essays and interviews on Celant’s project and the third includes the installation views of the show in Venice. The book is completed by a "Register" of works included in both shows.