Preventa de eBooks de Colecciones de arte

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

This book is the first major study of Edita Schuberts art published outside Croatia. Edita Schuberts body of work is strikingly diverse, spanning pioneering explorations of natural ecology in the 1970s to bold paintings in the spirit of the transavantgarde in the 1980s. She also created performance art on the streets of Dubrovnik and created installations that invited viewers into her world. Her later worksself-portraits of various kindsoffer profound meditations on memory, identity, and mortal- ity. Working in her studio in the Institute of Anatomy in Zagreb, she once compared her art with the practice of dissection, a precise and purposeful science which reveals the hidden territories of the human body. Often her subject was herself. The breadth of her artistic output seems to anticipate the "post-medium" condition of contemporary art. Yet when viewed together, strong lines of connection and continuity emerge, revealing a deeply intimate and single-minded vision of art.Edita Schubert (19472001) was an exceptionally prolific and inventive artist, active from the early 1970s until her untimely death at the age of 54 in 2001. A significant figure in Croatian and Yugoslav art, she exhibited at the Venice Biennale and the Biennale of Sydney and in galleries in Austria and the US, as well as frequently throughout Yugoslavia. Yet today, her art remains relatively little known.

Conflict does more than destroy physical spaces. It extinguishes lives, erases histories and disrupts the collective memory of entire communities. In Gaza, where genocide has wrought catastrophic loss, the destruction of heritage adds another dimension of devastation. Yet amid the rubble, acts of archiving, art-making and storytelling persist.Archiving Gaza in the Present brings together voices from Palestine and beyond to document the cultural erasure and to explore how creative and archival practices resist it. Contributions from curators, architects, artists, journalists, lawyers and scholars capture Gazas once-vibrant cultural life historic buildings, art centres, universities and museums that existed before October 2023 now turned to rubble.Featuring rich visual material from fragmented WhatsApp testimonies to forensic documentation and including artworks, maps and photographs, Archiving Gaza in the Present is both a living archive and a call to action. It is a vital resource for understanding Gazas cultural survival amid destruction.In partnership with the Arab British Centre.Contributors include Selma Dabbagh, Salman Abu Sitta, Shareef Sarhan, Hazem Harb, Malak Mattar, Marc-Andre Haldimann, Nadia Yaqub, Omar Al-Qattan, Kegham Djeghalian, Caitlin Procter, Atef Alshaer, Shatha Safi, Yara Sharif and Nasser Golzar.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

To mark the 200th anniversary of the Karlsruhe Institute of Technology (KIT), its history is being told through 100 selected objects. Proposals from the entire institute were submitted in response to a "Call for Objects." The curators Klaus Nippert and Andrea Stengel provide historical classifications of the objects with regard to their role in research, teaching, and development. The catalogue shows numerous new images of the objects, photographed by Jonas Zilius and Amadeus Bramsiepe, and mediates between their current appearance and the historical perspectives raised. In the design, Christoph Engel interweaves text and image in a special form that invites you to take a visual stroll.Klaus Nippert studied history and philology, and has a doctorate in early modernism. In 2002, he became head of the University Archive Karlsruhe, since 2009 the KIT Archive. He has published in the fields of archival, historical, and literary studies.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

Over the past two decades, Lisa Oppenheim has developed a critically acclaimed practice that is deeply rooted in the field of photography while also constantly exploring its margins. She often focuses on the unexplored potential of the mediums artistic, technological, and sociopolitical histories. Combining material experimentation with archival research, Oppenheim transforms or, in her words, "reprocesses"images and ideas both recent and historical by employing creative mechanisms ranging from a host of photographic processes to other media such as textiles, film and video, and, most recently, sculpture. Published in conjunction with her exhibition Monsieur Steichen at MUDAM Luxembourg, this richly illustrated catalogue surveys Oppenheims works from the past dozen years, and includes new texts by Darsie Alexander, Christophe Gallois, Jacob Proctor, and Bettina Steinbrugge, as well as a conversation between Lisa Oppenheim and artist Liz Deschenes.Lisa Oppenheim (*1975, New York) lives and works in New York City and holds degrees from Brown University, Bard College, and the Rijksakademie van beeldende kunsten. She is represented by Tanya Bonakdar Gallery in New York and Los Angeles and The Approach in London.

This monograph is a comprehensive tribute to the Polish artist Jadwiga Maziarska (1913-2003), featuring essays by renowned art historians and curators, and a selection of archival materials from 1940s1990s. Maziarska was one of the most important voices of the avant-garde in Poland, alongside recently recognized Erna Rosenstein, her closest friend and interlocutor. The title "assembly" speaks to Maziarska as engineer and bricoleur of source materials and methods, producing an abstraction which is uncategorizable within the postwar Krakow Group (Grupa Krakowska II) and beyond. Her artistic processes were rooted in the physicality of assembling as a response to concepts of reproduction and modernity. Active from the 1940s through to the 1990s, Maziarska was informed by science, phenomenology, mass photography, printed reproductions and newspapers clippings, out of which she developed autonomous structures.Jadwiga Maziarska (1913-2003) studied and lived in Krakow. She was a member of the second Krakow Group (Grupa Krakowska II), co-established by Tadeusz Kantor. She was known as an outsider, focused on her daring and progressive experimentation with various media.

This monograph is a comprehensive tribute to the Polish artist Jadwiga Maziarska (1913-2003), featuring essays by renowned art historians and curators, and a selection of archival materials from 1940s1990s. Maziarska was one of the most important voices of the avant-garde in Poland, alongside recently recognized Erna Rosenstein, her closest friend and interlocutor. The title "assembly" speaks to Maziarska as engineer and bricoleur of source materials and methods, producing an abstraction which is uncategorizable within the postwar Krakow Group (Grupa Krakowska II) and beyond. Her artistic processes were rooted in the physicality of assembling as a response to concepts of reproduction and modernity. Active from the 1940s through to the 1990s, Maziarska was informed by science, phenomenology, mass photography, printed reproductions and newspapers clippings, out of which she developed autonomous structures.Jadwiga Maziarska (1913-2003) studied and lived in Krakow. She was a member of the second Krakow Group (Grupa Krakowska II), co-established by Tadeusz Kantor. She was known as an outsider, focused on her daring and progressive experimentation with various media.