Richard Shiff

Tate Publishing

Carol Armstrong

Ulrich Wilmes

Robin D.G. Kelley

Ellen Gallagher (b. 1965) is one of the most acclaimed American artists working today. Her paintings, collages, drawings, sculpture, animation, and film installations, which shift between abstraction and figuration, create dynamic encounters between the historic and the present through commentary about race, racism, and cultural identity. Her works explore the language of modernist painting with symbolic or narrative content, often touching on issues of representation—for example, her 2006 piece Bird in Hand, which forms a central part of this appraisal, is a complex relief built up in layers on canvas through the application of newspaper cuttings, clay, rock crystals, silver paint, and gold leaf, created to evoke the mythical Drexciya or Black Atlantis, an underwater world populated by a marine species descended from drowned slaves. Created in close dialogue with the artist, this book catalogues a unique opportunity to present a selective yet coherent overview of Gallagher's practice, bringing together significant works from the early 1990s to the present day and examining some of the key themes and issues that emerge, overlap, repeat, and interweave throughout her practice.

Ellen Gallagher: AxME

Okwui Enwezor

Katy Siegel

This unprecedented global survey of the art of the postwar era represents a comprehensive examination of the production of art across all continents, under the conditions engendered by World War II. Accompanying the exhibition Postwar: Art between the Pacific and the Atlantic, 1945-1965, this extensive catalogue presents the work of more than 200 artists from over 50 countries. Uniquely, it understands the term "postwar" as a truly global condition, focusing on the increasingly interdependent nature of the world as the result of new geopolitical affinities and technological realities. The catalogue illuminates how these epochal social changes manifested worldwide across the practices of painting, sculpture, installation, performance, cinema, and music, through eight thematic sections: Aftermath: Zero Hour and the Atomic Era; Form Matters; New Images of Man; Realisms; Concrete Visions; Cosmopolitan Modernisms; Nations Seeking Form; and Networks, Media, and Communication. Key historical texts, visual essays, color illustrations, and over 35 original contributions by leading international art historians, curators, and scholars offer new insights into the complex legacies of artistic practice and art historical discourses that emerged in the aftermath of World War II's devastation. Artists' biographies, a comprehensive bibliography, and chronologies of the postwar period further supplement what will become an indispensable resource for future research.

Art Between the Pacific and the Atlantic, 1945-1965

Postwar

Robert Storr

Poul Erik Tøjner

Per Kirkeby

Louisiana (Museum : Humlebæk, Denmark)

Maria Fabricius Hansen

Edited by Michael Juul Holm. Text by Richard Shiff, Robert Storr, Maria Fabriciu Hansen, Poul Erik T0jner, Ulrich Wilmes.

Per Kirkeby, Louisiana, 2008

The Daled collection in Brussels has long been seen as one of the most famous yet little known collections of conceptual art. This comprehensive publication presents the Daled collection to the public for the very first time. All the work collected between 1966 and 1978, totalling around 500 pieces, is documented in an inventory, complete with purchase prices. The illustrated section is made up of more than 200 colour plates and shows key works from artists such as Vito Acconci, Carl Andre, Robert Filliou, On Kawara, Richard Long, Bruce Nauman, Ian Wilson and many more. These are complemented by numerous statements by Herman and Nicole Daled, giving insight into their collecting activities.

Daled Collection

Johanna Adorján

Harald Szeemann

Manuel J. Borja-Villel

Pamela Kort

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

Hans-Günter Golinski

Museum Bochum

deutsche Malerei seit 1968 aus der Sammlung Berg

Feuerwerk über dem Alexanderplatz

Michael Landy

The mechanisms and aesthetics of waste disposal have been of fascination to Michael Landy since research on early projects Scrapheap Services (1995) and Break Down (2001). Throughout his career Landy's interest in mechanical destruction has manifested in many forms - from the shredder, to the (dis)assembly line, to self-destructing kinetic works. In Scaled-Down, the artist's new body of work, he turns to the methods of industrial waste compaction. The process of destruction becomes not one of obliteration, but of transmogrification and renewal, as sculptures and drawings are re-imagined and reshaped in unsparing, compressed sculptural form. -- from press release, https://www.thomasdanegallery.com/usr/documents/exhibitions/press_release_url/210/ml_press-release.pdf.

Michael Landy H2NY

Ulrich Wilmes

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