Olafur Eliasson

Anna Engberg-Pedersen

Michael Juul Holm

Marie Laurberg

Olafur Eliasson's take on Louisiana is radical, fascinating and unique. The central work in the first solo exhibition at the museum by the Danish-Icelandic artist is a huge, sitespecific project that reverses the relation between nature and art. The transitions between inside and outside, culture and staged nature, become fluid and transitory - and the progress of the visitor through the museum becomes a central issue. Eliasson's exhibition is an enhancement of our gaze at the museum, at ourselves and at the world. Olafur Eliasson's exhibition at Louisiana engages with the museum's unique identity. The exhibition consists of three sections that each thematize the encounter between Eliasson's art and Louisiana as a place. The central work, Riverbed (2014), is based on the unique connection between nature, architecture and art that characterizes the museum. Transforming the entire South Wing into a rocky landscape, Eliasson focuses on inhabiting space in a new way and inserts new patterns of movement into the museum. Exhibition: Louisiana Museum of Modern Art, Humlebaek, Denmark (20.08.2014-04.01.2015).

Olafur Eliasson - Riverbed

Rineke Dijkstra (b. 1959) is one of the most prominent and internationally acclaimed artists working within the genre of photography and video portraiture. Her large-scale photographs show a rare sense of humanity, empathy and intimacy without any trace of sentimentality or indiscretion. Dijkstra typically captures her subjects at moments of transition or vulnerability, thus focusing on the thematics of identity. Though absolutely modern, even timeless, her portraiture brings to mind the great masters of the Golden Age of Dutch art. 'I try to capture something of the personality of these people,' Rineke Dijkstra explains, 'but at the same time extract something universal relating to humanity in general. There has to be enough space to make your own stories; to interpret a picture the way you want.'

The Louisiana Book

Richard Avedon

Helle Crenzien

In August 2007 Denmark's renowned Louisiana Museum of Modern Art presented "Richard Avedon: Photographs 1946-2004," the first major retrospective devoted to Avedon's work since his death in 2004. This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper. It includes 125 reproductions of Avedon's greatest work from the entire range of his oeuvre-including fashion photographs, reportage and portraits-and spans from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star Bjork. It also features a small number of color images, including what must be one of the most famous photographic portraits of the twentieth century, "Nastassja Kinski and the Serpent" (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer a sophisticated and thorough composite view of Avedon's career.

Richard Avedon Photographs, 1946-2004

"Exhibition at Leicester's New Walk Museum and Art Gallery of 100 works from Lord Richard Attenborough's collection of ceramics by Picasso, in their first ever public display together"--Provided by publisher.

Picasso: Ceramics

Anders Kold

In the years during and just after World War II, the Danish artist Asger Jorn (1914-73) and the American painter Jackson Pollock (1912-56) came to play major roles in the development of a new Abstract Expressionist art. Both drew on Surrealism and Picasso to explore automatism in painting, each breaking through to a unique style around 1943, when Pollock had his first show at Peggy Guggenheim's gallery, and Jorn established the groundwork for working collectively that would lead to the founding of the CoBrA group. In both cases, this led to an incredibly energetic, primitive-seeming painting (although Jorn retained more figurative elements than Pollock). Alongside more than 100 color reproductions, "Jorn & Pollock: Revolutionary Roads" includes the essays "Image Revolutions - Abstract Expressionism and What Looks Like It in Jorn and Pollock" by Anders Kold; "In the Shadow of Picasso: Asger Jorn and Jackson Pollock" by British art historian Jeremy Lewison; "Sounds in the Grass" by Axel Heil; and "Simpler Evolutions" by Courtney Martin, which discusses the British critic Lawrence Alloway's comparisons of the two artists.

Revolutionary Roads

Jorn & Pollock

Mette Marcus

100 års filmbilleder

Stjerneskud

Women of the Avant-Garde 1920-1940presents eight female artists who made major contributions to Dada, Surrealism, Constructivism and other European avant-gardes of the modernist era: Claude Cahun, Sonia Delaunay, Germaine Dulac, Florence Henri, Hannah Höch, Katarzyna Kobro, Dora Maar and Sophie Taeuber-Arp. The artists are constellated in relation to one another across five themed sections that illuminate the nature of their respective innovations: "Composing Color," "Constructing Space," "Different Rules," "New Identities" and "Another Reality."

Michael Juul Holm

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