If New York is the world, Los Angeles is definitely America. Or at least that America that seizes our imagination and never lets go. A megalopolis in the desert, a universe in itself that speaks a host of languages and embodies just as many contradictions: a Republican territory that's home to Underground culture; Hollywood and the Beat generation; Charles Manson and Marilyn Manson; a hotchpotch of languages, dialects and peoples. Los Angeles (state of mind) is the story of a city through different generations of artists who found success there from the 1970s to the present day. At first, even in California, styles and languages overlapped with each other with no prevalent direction or genre. We find the Pop Art of Ed Ruscha coexisting with the most recent abstract art experiences of Sam Francis. But the 1970s were also the decade of conceptual art, Body Art and the happenings, with figures such as John Baldessari, Chris Burden and Paul McCarthy, often extreme performers, and Bruce Nauman, Ed Kienholz and Lynda Benglis, a leading exponent of militant feminism. The in-between generation of artists were of great importance: born between the 1950s and '60s, they were defined by Mike Kelley as: "too young to be a hippy, too old to be a punk". Among the artists who emerged in the 1990s were Doug Aitken, who expresses himself through video installations and photographs, and the neo-minimalist Rita McBride. The Los Angeles of today is particularly focused on Black Culture, a phenomenon that manifests itself in all its social urgency and constitutes the fundamental basis for the reform that is so crucial for American culture. The drawings of Umar Rashid and the intense paintings of Henry Taylor bear witness to this epoch-making transition, for an America that is still diverse.
The wide and articulated exhibition project, which placed the theme of "light" as a symbolic, meta-physical, artistic archetype at the center of the investigation, gave rise to a new reflection on the works of Christian Boltanski and placed them in dialogue with the works of Shay Frisch resulting in an exhibition itinerary that winds on the noble floor of the Palace. A project that unfolds on different lines, parallel but autonomous, which analyzes the same relationship from several angles, linked to the aesthetic experience but also to the languages of the contemporary. It is a direct dialogue between Christian Boltanski's luminous non-light charged with mnemonic values, which become shadows, ghosts, strong symbols and Shay Frisch's electrical fields with their energetic charge, the evocative forms and the conceptual declinations deriving from his archetypal language. Light as pure energy, a unique stream of memory that receives meanings from darkness. While Boltanski amplifies the emblematic value of objects in his reflection, Frisch bends the iconography by drawing a new meaning from it. The decorative element becomes, for both artists, useless, amorphous, to be rewritten.
The third volume of the series of Photographic Albums of the Intesa Sanpaolo Historical Archives is devoted to a striking and previously unpublished collection of photographs linked to the history of the Banca Commerciale Italiana (COMIT), a credit institution that set up the Società Commerciale d'Oriente (COMOR) in Geneva in 1907, together with a group of Venetian entrepreneurs led by Giuseppe Volpi. Their aim was to promote the financing of plants and infrastructure such as railways, mines, electric power stations and shipping companies in the Near East. COMOR moved its headquarters to Milan in 1912 but it had various offices it could count on in the Mediterranean basin, including an office in Istanbul, then Constantinople, managed by engineer Bernardino Nogara, a fiduciary of COMIT in the Mediterranean and Eastern Europe, and a prominent figure in the history of the 20th century. The photographic narrative begins in the Ottoman Empire of the early 20th century, and ends with the outbreak of the First World War. It is centred around the Nogara family, who followed the head of the family to Constantinople. All the photos published in this book come from the Bernardino Nogara Private Archives, a photographic collection with a value that extends far beyond an interest in the history of the bank. It is a revisiting of subjects that have until now mainly been known and studied only through the official photographs circulated by the Empire to show the West the modernity of Ottoman society. Intesa Sanpaolo has decided to exploit this remarkable visual heritage and make it available to everyone through the bank's Culture and Historical Archives Project.
This book presents the 16th century cartoons of Gaudenzio Ferrari and his school, a valuable collection that arrived at the Pinacoteca dell'Accademia Albertina in Turin in 1832, as a donation from King Charles Albert of Savoy. It consists of a collection of fifty-nine preparatory drawings, some quite large, which mainly relate to important paintings by Gaudenzio Ferrari, Bernadino Lanino, Gerolamo Giovenone and Giuseppe Giovenone the Younger. This is a unique collection of cartoons that has remained preserved for centuries despite its fragility, and that enables us to enter the workshops of the 16th century to find out about art education in the Renaissance, before the arrival of the modern Academies of Fine Arts. The book includes a historical essay by Giovanni Testori and previously unpublished essays by Andreina Griseri and Simone Baiocco, and offers the reader a feast of beauty, with large photographs of all 59 drawings, printed in high resolution for the first time.
Jeff Koons: Lost in America brings together more than 60 of the artist's most iconic sculptures and paintings along with new productions and recently completed works. Edited by curator Masimilliano Gioni, the book focuses in particular on Koons' art as seen in relation to contemporary American culture. With his aesthetics of plenitude and his pop-up dreams of social mobility and acceptance, throughout his career Koons has composed a "fantasy America [...] custom-made from art and schmaltz and emotions"-to use Warhol's description of his own interpretation of American culture. Through the inclusion of source materials, personal recollections and biographical narratives, the book reads each of Koons' celebrated series through the prism of his biography and the ways in which his individual history intersects with that of his country and culture. Ranging from his upbringing in rural Pennsylvania to his fascination for popular culture and vernacular art, the publication composes an unconventional view of Jeff Koons and his work, retracing the personal influences and cultural histories that have shaped Koons's unique formal vocabulary. Published to accompany the major exhibition in Doha in March 2021, the catalogue features an interview with Jeff Koons by the curator, and essays by the well-known art critic Dodie Kazanjian and the Qatari-American writer and artist Sophia Al Maria.
Emerging in the late 1960s and early 1970s, he quickly established himself at the forefront of the loose cohort of artists, now known as Mono-ha, who radically redefined postwar Japanese art through their ephemeral interventions into both institutional and everyday spaces. Often working with raw natural and industrial elements, Suga gained recognition for installations such as Parallel Strata (1969), a fortress-like configuration of slabs of paraffin wax that subtly deformed in response to the environmental conditions at the venue, and Infinite Situation II (steps) (1970), for which he altered the function of a stairwell at the National Museum of Modern Art, Kyoto, by covering its steps with sand smoothed to reflect the grade of the incline. Such works were conceived by Suga as "situations," or expansive fields where objects engage each other through relations of fundamental equality and interdependence. According to Suga, the elements of a situation exist in a state of "being left" that activates viewers by its very resistance to being processed as information. In denying the agency of the artist, this vision was an early argument for the agency of all things. Kishio Suga Writings, 1969-1979 is the first volume in an authoritative anthology of translations that will, for the first time, offer English readers a thorough understanding of Suga's thought. It features the trilogy of formative texts Suga wrote in 1968-69 under the penname Katsuragawa Sei; fragmentary statements published in the exhibition listings section of the magazine Bijutsu Techo from 1972 to 1981; and groundbreaking essays spanning the 1970s. This volume also includes a substantial introductory essay by Andrew Maerkle on the theoretical implications of translating Suga, along with commentary by Maerkle on each of the translated texts, and a glossary of Suga terms. Additionally, an essay by Ashley Rawlings addresses the history of the translation of Suga's artwork titles. Illustrations of Suga's works appear throughout.
Ten years after the death of the well-known art collector Giuseppe Panza di Biumo and twenty years since his collection at Villa Menafoglio Litta Panza was opened to the public, the book describing the collection, conceived and created by Panza himself, is being reissued: over 150 works by American artists, inspired by the themes of light and colour, living in harmony in the age-old spaces of the Villa, with the Renaissance furnishings and the fine collections of African and pre-Columbian art. Panza's book - also published by Skira - is now re-issued in a slipcase together with a second volume that describes the evolution of the Villa and the Collection from 2002 to 2020: the new displays, new acquisitions and most important exhibitions of the last twenty years that took place under the expert management of Fondo Ambiente Italiano (the Italian National Trust). It features site-specific installations by Robert Irwin, James Turrell and Robert Wilson, the spectacular rooms of light by Dan Flavin and the moving tribute to Ground Zero by Wim Wenders. A large photographic section is devoted to the centuries-old Italian gardens embellished by environmental art installations.
This book brings together the best of Japanese graphic design in the posters that accompanied Japan from the 1964 Tokyo Olympics to the creation of the Issey Miyake logo, and from the Osaka Expo to the official poster for the Pan-Pacific Design Congress. Ken¿ya Hara was born in the province of Okyama in 1958. After graduating from the Department of Design at Musashino Art University in 1981 and obtaining his M.A. in 1983, he joined the Nippon Design Center where he established the Hara Design Institute in 1992. Yusaku Kamekura was born in Kanbara in 1915. He is considered to be the figure who contributed most to the spread of Japanese graphic design in the post-WWII period. He graduated with a degree in architecture and industrial arts in 1933; in 1940, he became the director of Nippon Kobo and in 1949 he was appointed artistic director of the magazine Commerce Japan. His most important designs, including the posters for the 1964 Olympic Games, the 1970 Osaka Expo, the Hiroshima Appeals, and the logo for the Nippon Telegraph and Telephone Corporation, all made a significant contribution to increasing his fame. Shin Matsunaga was born in 1940 in Tokyo. After graduating in 1964 from the department of design at Tokyo National University of Fine Arts and Music, he joined the advertising division at Shiseido. He designed the PEACE ¿86 poster and curated all the graphic design for the Sezon Museum of Modern Art. He also designed the symbol and official poster for the 1989 Pan-Pacific Design Congress, the human rights poster commemorating the 200th anniversary of the French Revolution, the medal for Mint¿s 120th anniversary, the logo for Issey Miyake and RHIGA Royal Hotels, and the package design for the French cigarette brand Gitanes Blondes (1995). Film director and art director Nagi Noda was born in Tokyo and made a name for herself as one of the most important young Japanese designers. She first achieved fame as an art director, designing publicity for the print media and graphics for publishing and the music industry, before working for bigger clients such as Nike and the Laforet Harajuku department stores. Ikko Tanaka was born in 1930 in Nara. In 1950, at just 19 years old, he graduated from the Kyoto City School of Fine Arts (now the Kyoto University of Arts) and immediately afterwards started working for companies such as the Kanegafuchi textiles company and the Sankei Shinbun daily newspaper. He designed the signage and medals for the 1964 Tokyo Olympics and the pavilion dedicated to Japanese history at the 1970 Osaka Expo.
This first monograph about the artist explores all aspects of Danhôo's artistic path, from early works to his latest creations.
Offers information on over forty exhibiting galleries and their artists, as well as twenty artists appearing in Eye Zone, an exhibition held within the fair.
A monograph surveying the works of the celebrity photographer Uli Weber, one of the most accomplished photographers of his generation.
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