Johanna Agerman, Ross Corinna Gardner, Anniina Koivu, Charlotte Hale
Vitra Design Museum, 2022
Plastic has shaped our daily lives like no other material. Originally associated with convenience, progress and even revolution, today plastic seems to have lost its utopian appeal. Plastic is everywhere, yet most conspicuous as waste and as a key factor in the global environmental crisis.
This book examines the success story of plastic in the 20th century and at the same time presents the different discourses on how we should manage the waste the material produces and also find solutions that take into account its entire life cycle in the future. Mark Miodownik, Susan Freinkel and Nanjala Nyabola each contribute an essay that sheds light on the history of plastics from 1850 to today. A material-rich visual chronology illustrates how consumers’ perception of plastics has changed over the decades; brief descriptions of a selection of 50 objects examine the importance of plastics for material culture; and reprints of fundamental texts about the history of plastics―for example, by Alexander Parkes and Roland Barthes―provide a context from the history of ideas.
The book juxtaposes the current discourse and state of research on plastic with numerous individual interviews and panel discussions that were held with designers, representatives from industry, researchers and environmental activists. Underpinning these conversations are comprehensive data visualizations on plastic production, consumption and the spread of plastic around the world.
The Museum of Modern Art, New York, 2022
Just Above Midtown, or JAM, was an art gallery and self-described laboratory for experimentation led by Linda Goode Bryant that foregrounded African American artists and artists of color. Open from 1974 to 1986, it was a place where an expansive idea of contemporary art flourished and debate was cultivated. The gallery offered early opportunities for artists recognized as pivotal figures in late-20th-century art―including David Hammons, Butch Morris, Senga Nengudi, Lorraine O’Grady and Howardena Pindell―as well as a nonhierarchical approach to art that welcomed artists without stylistic proscription.
Published in conjunction with the first museum exhibition to focus on this visionary gallery and its ongoing impact, Just Above Midtown: Changing Spaces showcases rarely seen material from JAM’s history―artworks, ephemera and photographs―that collectively document the gallery’s communal and programmatic activities. This richly illustrated, jacketed paperback catalog includes essays that contextualize JAM and consider its legacy, a conversation between Goode Bryant and Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, a complete exhibition chronology written by MoMA and Studio Museum staff with nearly 50 annotated entries, and excerpts from oral histories with JAM staff and artists conducted especially for this project.
Yale University Press, 2022
Carolee Schneemann (1939–2019) was one of the most experimental artists of the twentieth and early twenty-first centuries. This book traces six decades of the feminist icon’s diverse, transgressive and interdisciplinary expression through Schneemann’s experimental early paintings, sculptural assemblages and kinetic works; rarely seen photographs of her radical performances; her pioneering films; and groundbreaking multi-media installations. Contributors shed new light on Schneemann’s work, which addressed urgent topics from sexual expression and the objectification of women to human suffering and the violence of war. An artist who was concerned with the precarious lived experience of both humans and animals, this book positions Schneemann as one of the most relevant, provocative and inspiring artists in recent years.English - 352 Pages - 21 x 28 cm - 1.8 Kg
Centre Pompidou, 2021
Né en 1938 près de Dresde et passé de l'Allemagne de l'Est à Berlin-Ouest durant ses études d'art, Georg Baselitz devient dans les années 1980 une grande figure de la scène artistique internationale. Réfutant dès ses débuts tout dogme artistique, il met en scène une iconographie sombre et hybride, inspirée de figures marginales ou peuplée de mythes et de légendes. Il se tourne par la suite vers des sujets plus ordinaires pour faire de la recherche picturale le véritable objet de son art.
Il inscrit son travail dans une histoire des formes qu'il veut sans cesse renouveler, construisant un langage entre figuration et abstraction dans lequel transparaît au gré des décennies sa passion pour le maniérisme italien, l'expressionnisme, l'art brut, la peinture de ses contemporains ou la sculpture africaine. Ce sont les quelque soixante années de cette création d'une force immense que le Centre Pompidou a choisi de présenter.
Pour accompagner cette vaste rétrospective, le présent ouvrage associe aux nombreuses contributions éclairant l'oeuvre de l'artiste une nouvelle originale de l'écrivain Philippe Lançon.
Markus Müller, Margrit Bernard
It is a widely held view that Pablo Picasso (1881–1973) entered a renewed creative period alongside each new muse in his life. But this volume does not discuss Picasso’s biography or stylistic phases; rather, it pays tribute to the women who left their mark on his life. Picasso: The Women of His Life explores these women’s entire lives and creative work, not just the years they spent at the famous artist’s side. Müller and Bernard sketch the lives of ten women, including Picasso’s mother—with whom he was very close, and whose maiden name he chose as his professional name—his wives, and his many lovers. When he wanted to marry the Russian ballerina Olga Khokhlova, she warned him that he would remain married to painting throughout his life. They separated in 1935 because of his young muse, Marie-Thérèse Walter, who was soon deposed by Dora Maar. Following various separations, these women disappeared from Picasso’s canvases, but they did not vanish entirely. This book pays tribute to them all.English - 192 Pages - 18 x 20 cm – 1.1 Kg