Böcker utgivna av Skira

In 2015, the Graham Foundation, in partnership with the Chicago Architecture Biennial, presented Barbara Kasten: Stages, the first major survey of the work of the Chicago-based artist. The exhibition spanned her nearly five-decade engagement with abstraction, light, and architectural form. Since the 1970s, Kasten (b. 1936) has developed her expansive photographic practice through the lens of sculpture, painting, theatre, textile, and installation. Well-known within photographic and contemporary art discourse, the artist has recently begun to be reconsidered within the broader context of architectural theory. This book, Barbara Kasten: Architecture & Film (2015-2020), concretizes this legacy within the artist's practice and contextualizes her ongoing investigations into how moving images and perception play within and through architectural forms. Departing from Stages, the publication includes texts that encompass Kasten's work and exhibitions within the last five years while connecting to the artist's history of experimentations with light, including the influence of architect Le Corbusier, as well as site-specific responses to Shigeru Ban and Mies van der Rohe. Replete with full-colour plates, this book features a long-form interview with Hans Ulrich Obrist, whose Chicago Marathon stage in 2019 was designed by Kasten; a two-part essay by artist Irena Haiduk on the construction of the camera and the artist's collaborations with corporate entities such as Polaroid; a feminist examination of the Bauhaus from architecture critic and curator Mimi Zeiger; relationships between Kasten's constructions and mid-century architects from Mexico and Brazil by Humberto Moro; and a speculative investigation into historical moments that provide a 'stage' through which to consider Kasten's formulations of space as cinema by editor Cristello.

Photographing Art presents a selection of photographs taken by the Mexican-German photographer between 1974 and 2018. An unmissable testimony of the world of contemporary art, with its emotions, relations, moments of joy and hard work, the encounters, the connections, and the sense of being part of a community lined with an artist's creative solitude. These are the contents and themes emerging from the pages of this book, a publication that is a testimony to its time, with its artistic expressions and everchanging trends. Photo-moments overlooked by news, media, art catalogues, and history of art, but immortalized by a close observer of the evolutions of contemporary research also thanks to his wife, the curator Adelina Cüberyan von Fürstenberg who can be credited for some of the most significant moments of international art. With his camera Egon witnessed what was going on in the art world but not from an institutional angle, capturing the facade, but immortalizing the spirit that made art and artists thrive. Attentive to every idea, detail or movement, every anticipated or unexpected moment, Franz Egon von Fürstenberg's camera captured the instant, the fleeting moment when a person feels free and natural, not framed or posing as a celebrity. The pictures in the book depict several artists, many of whom are among the most interesting personalities of our time, such as Andy Warhol, Joseph Beuys, Marina Abramovic, Jannis Kounellis, Mario and Marisa Merz, Chen Zhen, Ilya and Emilia Kabakov. Born in 1939 in Berlin, Franz Egon von Fürstenberg worked as assistant to designer Pierre Cardin in Paris and then to photographer Alain de Ferron in Geneva, where he met and married his lifelong companion Adelina Cüberyan. Over the years he collaborated with many artists and several art spaces around the world and his photos have been published in magazines, papers and art catalogues. His archives are a source of inestimable memories helping us understand the origins of those encounters, exhibitions, connections and developments that have unfolded throughout the generations over the course of four decades, giving rise to our present contemporary art world.

Much has been written about 16th- and 17th-century Italian painting, but the contribution of the women artists of that period has often been overlooked: extraordinary figures with incredible and often obscure personal stories. The Ladies of Art sheds light on these artists and their lives, on the role they played in their day, and how some of them made a name for themselves in the great international courts: extraordinary women, who overcame social stereotypes and who have not yet received the attention they deserve. This book describes the art and lives of thirty-four women artists, starting from Artemisia Gentileschi - the first woman artist whose work constituted a watershed able to question certain gender prejudices - followed by other famous Italian women painters, such as Sofonisba Anguissola -the Lombard painter appreciated by Van Dyck -, Lavinia Fontana, Fede Galizia, Marietta Robusti, known as "la Tintoretta?, and many others. Admiring the over 130 works on the pages of this book we can appreciate the artistic greatness of these long-forgotten artists as well as the problematic nature of a historical period that did not favour women's professional affirmation and recognition. Stories of women that offer a reading beyond stereotypes and capable of questioning behavioural models. Women who challenged prejudices, deconstructed restraining clichés, and who found their expression in painting.

For over 35 years Tasset has held a unique position in the lexicon of contemporary art with a remarkably diverse body of art. A self described art nerd, Tasset's imagery comes from his wide ranging knowledge and empathy for all types of art. He once said, "I'm not going for originality, I'm striving for the quintessential." The artist's spectacular objects unlock memories. He revels in demonstrating the similarity between the grandest artistic gesture and the humblest child's scribble. With a satirist disposition he interrogates institutions-galleries, museums, public art and even his own position of power. His art has intentionally quoted from high modernism, folk, vernacular and performance art. This egalitarian ethic has led to a diverse group of iconic artworks and beloved permanent public sculptures. Born in Cincinnati and spending the last forty years in Chicago, Anthony Tasset embodies a midwestern plain-spoken, kind hearted scepticism. Never passive, his art compels a reaction, it can be cutting, even cruel, but it can also be as tender as a Neil Young song, often at the same time. This 250 page, hardcover book contains 200 reproductions chosen by the artist, and extensive essays by Michelle Grabner and Andrew Russeth. In addition, Tasset has invited artists he greatly admires; Jeanne Dunning, Pamela Fraser, Judy Ledgerwood, Jose` Lerma, Inigo Manglano-Ovalle, Cauleen Smith, Phillip Vanderhyden and John Waters to chose and write on one of his works.

Finally on the way, the Catalogue Raisonné of Ceramic Sculptures is the most complete and updated publication exploring this fundamental ambit of Lucio Fontana's research and production. The result of a project shared with Enrico Crispolti, curator of the entire Catalogue Raisonné collection of Fontana's work, this impressive publication is edited by Luca Massimo Barbero - eminent scholar specializing in Fontana's oeuvre and curator of the Catalogue Raisonné of Works on Paper - in collaboration with Silvia Ardemagni and Maria Villa. An essential and updated research tool, this Catalogue Raisonné is the result of the painstakingly accurate archiving and cataloguing activities carried out by Fondazione Lucio Fontana over more than fifty years, presenting a selection of about 2000 ceramic works made between 1936 and 1966. Organized in chronological and thematic order, within the two formal "hemispheres" explored by Fontana's extraordinary earthenware production - the Figurative and the Spatial - works are accompanied by entries offering a precise listing of bibliographical and exhibition references. Page after page the volume explores the artist's vast creativity disseminated with experimentations finding an ideal expression in ceramic works investigating and putting into practice an ideal relation between form, colour, matter and space. The publication includes an extensive and analytical essay by Luca Massimo Barbero, offering an exact survey that for the first time highlights and defines Fontana's exceptional inventive capacity, as well as his role as key player in the 20th-century contemporary art scenario. For this occasion, bibliographical insights are paired with new research and studies on the author's biography.

Published on the occasion of burn shine fly, presented during the 59th International Art Exhibition - La Biennale di Venezia 2022, the project title is derived from the book of poetry and prose You got to burn to shine by John Giorno, the late American poet and partner of the artist. The publication surveys a number of Rondinone's most iconic bodies of work brought together at the Scuola Grande di San Giovanni Evangelista, as well as insights to new work specifically created for this project; conveying the distinct sensitivity and site-specific discourse with which the artist approaches exhibition-making. Encompassing a diverse array of media, burn shine fly mediates themes that have come to define the artist's practice over the past three decades. Primarily the enduring exploration of the multivalent potentials for the physical to express the metaphysical, spiritual, and transcendental, of which he has stated: 'the work aims to coax the sublime from the subliminal. It should dazzle us and then send us into deep reflection about the marvels and mysteries of life.' Founded in 1261, Scuola Grande di San Giovanni Evangelista is the oldest known confraternity in Venice, and as such sustains the richness and diversity of the city's history. Located in San Polo district at the heart of the city, its walls have housed treasures ranging from venerated relics of the cross of Jesus Christ to works by Venetian Renaissance Masters including Titian, Vittore Carpaccio, and Giovanni Bellini.

In this new collection, the internationally exhibited and award-winning documentary and fine art photographer, David Lurie returns to the terrain of the city, but this time with a specific visual agenda in mind which he shapes with the eye for a carefully composed frame of both a documentarist and a fine artist. Lurie¿s new collection strikes at the very heart of the dilemma of unequal access to the technological means of production ¿ the digital sphere, usually reached via the ubiquitous smartphone. With his aesthetic eye, skilful sense of composition, lighting and colour and, most importantly, a keen sense of the topicality and socio-political importance of what is contained within his frames, in his new project Lurie visually dramatizes the explosion of cheap and available camera technology built into smartphones, which has coincided with a corresponding explosion of the platforms on which their images can be seen ¿ social media. This seemingly extreme democratisation of image making in fact also disempowers, by turning the data inherent in all images ¿ locations, faces, frequency of images, likes and dislikes ¿ into monetisable information to be harvested and deployed by social media corporations. Street photography started out as a means to document and thereby understand new ways of living that rapid urbanisation and industrial work and leisure practices had brought about. As a medium, street photography focused on popular culture and the working classes as a result. The novelty of having one¿s lifestyle and values disseminated photographically is a mainstay of the street photography idiom ¿ one that is now overshadowed by the ubiquity of its post-capitalist, self-initiated forms. This very ubiquity conceals the ideology behind a variable and radically unequal access to digital culture, still very much organised along class and racial lines.

UNESCO World Heritage Site since 2001, Villa d¿Este is an Italian garden masterpiece with an outstanding array of fountains, nymphaea, grottoes, water features and sound effects. Following the disappointment for not having been elected Pope, Cardinal Ippolito II d¿Este in this villa revived the splendour of the courts of Ferrara, Rome and Fontainebleau, echoing the magnificence of Villa Adriana. Governor of Tivoli from 1550, the Cardinal immediately envisioned the creation of a garden on the slopes of the valley known as Valle Gaudente. But it was only after 1560 that the Villäs architectural and iconological programme was defined by painter-archaeologist-architect Pirro Ligorio and executed by court architect Alberto Galvani. The palace was decorated by the leading exponents of late Roman Mannerism. When Ippolito d¿Este died in 1572 the villa was almost completed. Further 17th-century interventions were followed by a period of decline, until Cardinal Gustav Adolf von Hohenlohe infused new life into the property also welcoming the musician Franz Liszt (1811¿1886). Acquired by the Italian State, Villa d¿Este was restored and opened to the public in the 1920s and 1930s.

Published to mark the 20th anniversary of September 11, 2001, Fulvio Roiter: High-Rise New York celebrates the city and people of New York. Consisting of over 60 colour photographs taken during 1984-1998 by the internationally-acclaimed Italian photographer Fulvio Roiter (1926-2016), they illustrate the traits of beauty, strength, resilience and hope with a sense of poignant immediacy and timeless elegance. They recall a New York that once was, its instantly recognizable skyline irreparably and arbitrarily altered by the tragic set of events that unfolded just a few years afterwards. They collectively present a New York City over an imaginary 24-hour period, key historical events such as the immigration surge of the late 19th century and the 9/11 attacks subtly woven into the volume's poetic narrative with sensitivity and respect. As New York emerges from yet another life-changing experience caused by the Covid-19 global pandemic, Roiter's intimate portrait of New York and its inhabitants stands as a stoic reminder of life after death, of light after darkness.

The result of an over fourteen-year research conducted by Archivio Mario Schifano, the publication is divided in four volumes, each dedicated to a single decade. This first volume presents the works the artists created from 1960 to 1969 with 500 high-resolution pictures and about 300 mainly so-far unpublished photographs from Mario Schifano's personal archive, Achivio Ugo Mulas, and the Camilla and Earl McGrath Foundation. The son of an archaeologist head of the Leptis Magna excavations in Libya, Mario Schifano carried out his apprenticeship at the Etruscan Museum of Villa Giulia, and made his artistic debut in 1960 with an exhibition in Rome presented by Pierre Restany; Schifano immediately captured the critics' interest with his monochrome paintings evocative of the photographic screens that would later incorporate numbers, letters, road signs, and Esso and Coca Cola logos. In 1963 he travelled to the United States for the first time and met Frank O'Hara, Jasper Johns, and Andy Warhol. His works started to include quotations from the history of Italian art and Futurism. In this period he painted his first Paesaggi anemici and in 1966-1967 he began the Ossigeno ossigeno, Tuttestelle, Oasi, and Compagni, compagni series. Besides his solo shows and his participation in national and international group exhibitions, during the 1960s Schifano also worked on full-length films, directed three experimental films, and col laborated with a psychedelic rock band. An ideological and existential crisis forced him to isolate in his studio for periods of time during which his production focused on the reinterpretation of the art of Magritte, De Chirico, Boccioni, Cézanne, and Picabia.

The extraordinary jewelry creations by the famous Maison from its beginnings to the present day. This book presents the legendary jewelry and precious objects of Van Cleef & Arpels, and how they relate to time, nature and love. Time is a fundamental element for both creativity and craftsmanship. Time gives objects their shape; defines their style; determines their function, social utility, and the choice of materials and techniques; indicates origin; hones taste; and reveals context. Time is interpreted through eight values inspired by Italo Calvino's Lezioni Americane, or Six Memos for the Next Millennium, to honor the iconic pieces created by Van Cleef & Arpels over the years, from Art Deco masterpieces to the illustrious Zip necklace, gravity-defying Mystery Set, or celebrated Minaudières-some of the most important innovations in the history of 20th century jewelry-making. Nature plays an equally important role for Van Cleef & Arpels as an ever-present source of inspiration and tribute, embodied in unique gems and timeless masterpieces drawing on flora and fauna. Van Cleef & Arpels is founded on love, the most powerful energy in the world. Each object is handcrafted with love, and Van Cleef & Arpels jewelry has sealed some of the century's most legendary love stories.In a brilliant historical and critical essay, illuminated by a stunning iconographic selection of jewelry, precious objects and archive materials, this work describes the Maison's eternal values of time, nature and love.

From the first championship, won by Nino Farina with his Alfa and his famous cigar between his lips, to Hamilton's heroic exploits, taking in en route all the legends of Formula 1: Ascari, Fangio, Lauda, Senna, Prost and Schumacher are just some of the protagonists in this book. A spectacular account of the winners, their extraordinary cars and their duels, but also a story of big defeats and great heroes who, while they didn't win the championship, still became legends: Gilles Villeneuve above all.

A vase is never merely a container. As Georges Braque once said, "the vase gives form to emptiness": ever since the earliest human civilizations, this object has had a purpose that is greater than its function and it perennially seeks experimentation in shape and expression. The 1,000 vases presented in this book are an eloquent demonstration of this. They come from 35 different countries and more than 80% have been made by women or independent designers and artists born between 1988 and 1993, each of whom was invited to create a free interpretation of the same archetype, resulting in a spectrum of the infinite creativity inspired by the many possible versions of a single item. Made from an enormous range of materials (ceramic, terracotta, porcelain, metal, wood, glass, as well as natural fibers, industrial waste and recycled plastic), using techniques both ancient and ultra-modern (3D printing) and belonging to different categories (from amphora to jar, jug to carafe), almost all sit on the borderline that simultaneously unites and separates art, design and craftsmanship.

In the eighth decade of her life, Mira Lehr is in her studio creating work daily. Her work can be found in many public and private collections. Born in pre feminist times, well educated at Vassar, majoring in art history and philosophy, Mira might have been one of the countless female artists whose art became subservient to the expectations of women in the 1950's. However, Mira did it all. She married, raised a family and continued with her artistic training studying with leading figures of the time such as Motherwell and Hoffman. Mira has spent the last 40 years living in Miami. She was responsible for bringing many well-known artists to lecture and inspire and emboldened other women artists in cities like Miami. In 1969, Mira was selected by Buckminster Fuller to participate in the World Game Project. The agenda was to investigate scenarios for making human life sustainable on the planet. This sparked a new direction for Mira and she found her voice. Lehr notes, "I got the feeling we are meant to survive and to survive well." Mira Lehr believes in nature. She believes in its beauty, its force, its strength, its vulnerability and its need for ecology. It is said that art is visual philosophy. Mira Lehr understands this and takes us on a beautiful journey through the longevity of her work interspersed with notable essays and interviews. In 1995, the first book on Mira Lehr, Arc of Nature, was published. This new book, which is Mira's first international monograph, includes this 1995 book and then her subsequent years of her artistic practice.

The photography of German artist Hans Georg Berger has always focused on investigating identity, whether personal or cultural; here it is represented through 145 fine quality black and white photographs, printed using the silver gelatin process on baryta paper, starting with the negatives from the artist's Berlin archive. The title "Discipline and Senses" brings together in a single theme the artist's profound intellectual experiences and the studies he carried out over the course of almost fifty years, from the 1970s to today. Berger's approach is based on the ethical, not just aesthetic, centrality of the subject of the photograph. It is a remarkable and probably unique journey into great contemporary photography.

Ahmed Morsi: A Dialogic Imagination discusses the places, people, texts, ideas, and materials that have shaped the unique practice of the New York-based Egyptian artist Ahmed Morsi. A painter, poet, printmaker, and critic, Morsi has created a diverse body of work abundant in mythic beauty. After coming of age in the 1940s as part of the Alexandria School, a movement led by free thinkers and artists that marked the city's emergence as a postwar Mediterranean cultural entrepot, Morsi spent time in Baghdad, where he benefited from the city's vibrant literary renaissance of the 1960s, as an art critic and translator, before settling in Cairo, and eventually immigrating to New York in the mid-1970s. In Cairo, Morsi helped lead the journal, Galerie 68, which became the voice of the Egyptian avant-garde, while experimenting with theatrical set design and artist's books. This volume highlights the rich interplay between Morsi's poetry and paintings and emphasizes the way his multivalent practice conducts a dialogue with the wider world.

The retrospective dedicated to the great Italian artist Alberto Burri (1915- 1995) seeks to explore the beauty and complexity of the creative process that underlies all his work. The exhibition is curated by Bruno Corà, president of the Fondazione Palazzo Albizzini Collezione Burri in Città di Castello. The title La poesia della materia (The Poetry of the Material) evokes what Burri managed to produce, working with the most varied materials and recycling anything that happened to come into his hands with an inexhaustible creative energy. Tar, paper, fabric, jute sacks, combustions of plastic, wood and iron with their welds: ¿Burri ennobled even the poorest and most ordinary materials, bringing them into the dimension of beauty, which, to be authentic, must always be reconquered.¿ Although he is one of the most important and internationally well-known Italian artists of the second half of the 20th century, Burri¿s work still holds many secrets in store, which this exhibition, and the accompanying catalogue, hope to shed light on.

Pablo Atchugarry (b.1954), a Uruguayan of Italian origin, is one of the most acclaimed sculptors internationally, and for many years he has chosen Lombardy as his place of inspiration and production. Well-known in Europe and America - or rather, the Americas - the Uruguayan artist chose Lecco and its mountains to create his work and make it known around the world: his Foundation, established in Miami, not only contributes to his fame, but stages temporary exhibitions to introduce people to the world of art, particularly the art of South America, in a spirit of solidarity that is truly exceptional. The "modern" meaning of his sculpture, in the sense that could be attributed to the "tradition of the new", perfectly embodies its international flavour that has rewarded him with a slow, growing and inexorable success. Monumentality is one of the significant features of his art: a characteristic that emerges powerfully in his works of great impact, sited in squares and public places all over the world. The material concerned is marble, his main source of inspiration, the element from which the work takes shape, thanks to ceaseless physical effort, continuous in his devotion to discovery and exploration of what can emerge from the material volume worked with a chisel and by smoothing. This new large-scale, volume contains 48 pages with photos of the display of the works in the exhibition at the Palazzo Reale in Milan, with the central nucleus in the beautiful Sala delle Cariatidi, the site chosen by Picasso in 1953 to display his Guernica, after the Metropolitan in New York.

Toni Zuccheri (1936-2008) was an artist, architect, designer, sculptor and poet of glass and nature: the exhibition and catalogue retrace his incredible career The son of the animalist painter Luigi Zuccheri, he inherited his father's passion for animals, which feature frequently in his creations. Toni Zuccheri studied at the architecture faculty of the University of Venice under the guidance of Gardella, Albini, Scarpa and Samonà. He started collaborating with Venini in the 1960s: following family tradition, his first works in glass were animals made in polychrome glass using fine techniques such as "murrine". In 1965, he started collaborating with Gio Ponti, with whom he designed a new system of large glass windows, the "Vetrate Grosse". After this he expanded his glass production with new colours and subjects, participating in numerous exhibitions around the world.

The eminent artist and designer, Tapio Wirkkala, helped to make the Finnish school famous around the world: this exhibition and catalogue reveal his art and his creativity. When Wirkkala designed his first objects for Venini in the mid-1960s, he was already a figure of worldwide fame, with prominent projects in the various design sectors. His activities with Venini represented an interesting phase in his versatile career and, at the same time, had a profound influence on the Murano glass-making industry. It was Tapio Wirkkala who promoted the "Incalmo" technique that he often combined with "Mezzafiligrana" and "Murrine", thanks to the skills of the master glassmakers and the rich palette of colours. His works feature in major museums around the world.

Composed of series of twelve post-2020 civic architecture projects in twelve fames for twelve cities, alongside contributions by writers, historians and artists, Conceiving the Plan constructs a dialogue with the legacy of the late architect and long-time Cooper Union Professor Diane Lewis. It surfaces and questions how civic spaces are nuanced and conceived. For Diane Lewis the city was not only the result of a great number of historical, and ultimately inextricable, strata of form and memory; it was also greater than the sum of its individual architectures and a mental universe all its own. Apart from her drawings, models and built projects, she most effectively conveyed her insights through the medium of film, which captured her unique presence and unmistakable voice-among the most characteristic distillations of the architectural "message" of Cooper Union from the 1970s to the mid-2000s. Architectural historians Daniel Sherer and Barry Bergdoll converse about the themes and approach in a series of short films Lewis created in the final months of her life. The book touches on critical questions-narratological, ecological, social and metahistorical-providing and provoking spatial civic identities. Thus, the projects in the book also, are inseparable from deeply involved critical approaches to pedagogy in the architectural discipline.

Becky Suss (b. Philadelphia, PA in 1980; lives and works in Philadelphia, PA) explores ideas of intimacy, domesticity and memory. Her large-scale paintings of interiors are holistic representations of the sensory and remembered qualities of space, while her small paintings of objects and books become a library of charged personal items. Devoid of figures, Suss' style uses flattened architecture, exaggerated proportions, and distorted perspective to amplify the tension between the factual and the fictitious, mirroring the plasticity of memory, continually reformed and revised. What resonates is how a dwelling, despite its rigid physical structure, can adapt, welcoming the day to-day histories, eccentricities, and impressions of the people who move between its walls. Suss' work often questions the stereotypes of domesticity especially as they relate to the lives of women in America. She is fascinated by American culture's dismissal and dependence on homemaking and homemakers, and inspired by her own personal heritage, the generations of women in her family who managed the domestic sphere without recognition. She aspires to elevate these historically female private spaces that have long been dismissed as unimportant, though in reality are places where family and identity are created and defined. She often draws inspiration from memories of her own grandparents' home and, after becoming a parent herself, she has found inspiration through returning to the literature of her childhood and the memories of these imagined narratives.