Pamela Kort

Max Hollein

Fictions of the Wild West

I Like America

Egon Schiele saw himself as a visionary and prophetic artist, Frantisek Kupka forged an abstract style of painting infused with spiritist principles, Joseph Beuys called under the rubric social sculpture for social change due to creative actions, and Friedensreich Hundertwasser was an ecological crusader whose spiral paintings were holistic in essence. These pioneering artistic attitudes and developments would have not come about without contact with several prophets. Some of these were artist-naturists, others were modern-day Christs, while still others saw themselves as social revolutionaries of a kind. Their relevance for modern art remains a largely untold story. Today, their names Karl Wilhelm Diefenbach, Gusto Gräser, Gustav Nagel, as well as Friedrich Muck-Lamberty and Ludwig Christian Haeusser have almost been forgotten.

a secret history of modern art 1872-1972

Artists and prophets

Ulrich Wilmes

Okwui Enwezor

Johanna Adorján

Harald Szeemann

Manuel J. Borja-Villel

Danièle Cohn

Ulf Valde Jensen

The first major exhibition catalog on Jörg Immendorff (1945-2007) since his death, this volume offers a thematic overview of more than four decades of the artist's work, with more than 120 iconic paintings. For All Beloved in the World offers a thematic overview of the work of this German artist, whose identity is deeply enshrined in his home country's history and characterized by a post-war background. More than 120 works do not follow a strict chronology of the works; instead they present the key element in the development of Immendorff's oeuvre in chapters. They give a nuanced view of the artist's life and work and include some of the rarest loans, bringing together more than four decades of the artist's work united with iconic paintings. It was not until the end of the 1970s that Immendorff decided to shift his threefold existence as a political activist, teacher and painter to the side of art. The year 1976 was key in some respects; Immendorff participated in the Venice Biennale with a flyer campaign that attacked the 'deprivation of personal liberty' in the GDR and called for international artistic co-operation as a vehicle to overcome it; this was followed in 1978 by the beginning of his Café Deutschland series, inspired by Renato Guttuso's Café Greco, which Immendorff had seen in an exhibition in Cologne. With his work on the Café Deutschland series, Immendorff's painting became more expressive through his bold use of colour and gesture, thereby also freeing him of ideologically imbued emblematics. The process of change introduced here, with its formal and substantive opening-up, developed into the artist's last work phase, a visual-linguistic 'clearing' in the sense of a new pictorial energy and lightness, which Immendorff once described as a 'liberation blow'.

Fur alle lieben in der welt

Jorg immendorf

Berlin Street Scence (1913-1914) by Ernst Ludwig Kirchner is one of the greatest German paintings of the twentieth century. This newly restituted work has now joined the collection of the Neue Galerie, which is devoted to early twentieth-century German and Austrian art. This volume provides a full exploration of the history and significance of Kirchner's masterpiece.

Berlin Street Scene

Ernst Ludwig Kirchner

Pamela Kort

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