Monica Bohm-Duchen Bücher

In seinen frühen Gemälden reagiert Marc Chagall (1887–1985) auf die Strömungen seiner Zeit wie Fauvismus, Kubismus, Suprematismus und Surrealismus. Voller Poesie und Eigensinn zelebriert er sein persönliches Erleben auf erzählerische und theatralische Weise. Die Publikation widmet sich den Ursprüngen der Chagallschen Formsprache, Farbgebung und Symbolik und zeichnet prägende Einflüsse und Stationen im Leben des wegweisenden Avantgardisten anhand früher, abstrakter ebenso wie figurativer Werke nach: Deren narrative Elemente und folkloristische Motive, ihre leisen Anklänge von Nostalgie, inspirieren nicht nur Gefühl und Fantasie des Betrachters, sondern verweisen zugleich auf Chagalls Aufenthalt in Paris vor dem ersten Weltkrieg, seine Reise nach Berlin und dortige Ausstellung in der Galerie Herwarth Walden 1914 sowie die Jahre um die Zeit der Revolution, die er in seiner russischen Heimat verbrachte. Ausstellungen: Kunsthaus Zürich 8.2.–12.5.2013 Tate Liverpool 7.6.–29.9.2013

Dorothy Bohm is widely considered one of the doyennes of British photography. To date, however, there has not been a major retrospective of her career and oeuvre, which span six decades (from the 1940s to the present day) and several continents. This situation is to be changed by an exhibition of some 250 of her photographs at Manchester Art Gallery in 2010. The accompanying book, the most detailed and comprehensive to date, is also the first publication of its kind. Lavishly illustrated with numerous full-page reproductions of the photographs displayed at the exhibition, as well as others not exhibited, the book contains three substantial essays, which cover Bohm's life, her work within the history of photography and visual culture, and her status as a female photographer. The work concludes with an extensive and easy-to-use index of thumbnail reproductions of her work.

<i>Insiders/Outsiders</i>, published to accompany a UK-wide arts festival of the same name in 2019, examines the extraordinarily rich and pervasive contribution of refugees from Nazi-dominated Europe to the visual culture, art education, and art-world structures of the United Kingdom. In every field, émigrés arriving from Europe in the 1930s—supported by a small number of like-minded individuals already resident in the UK—introduced a professionalism, internationalism, and bold avant-gardism to a British art world not known for these attributes. At a time when the issue of immigration is much debated, the book serves as a reminder of the importance of cultural cross-fertilization and of the deep, long-lasting, and wide-ranging contribution that refugees make to British life.