Bice Curiger Bücher

Die Malerin Georgia O'Keeffe (1887–1986) gilt als wegweisend für die amerikanische Kunst. Dieses Katalogbuch präsentiert die gesamte Bandbreite ihres Œuvres, von den ersten abstrakten Bildern der 1910er Jahre über großformatige Blumen- und Naturstücke der 1920er bis hin zu den berühmten Stadtansichten New Yorks und den weiten Landschaften New Mexicos. In ihrer langen Künstlerlaufbahn erprobte O’Keeffe in oft rätselhaften Bildern ein Spektrum künstlerischer Möglichkeiten und Motive. Ihre symphonischen Farbkompositionen sind Teil des klassischen Repertoires der Kunst des 20. Jahrhunderts und dokumentieren die Loslösung der amerikanischen Kunst von europäischen Traditionen sowie die radikale Emanzipation einer Künstlerin. Der Katalog enthält zudem Fotografien, Möbel, Kleidung und Arbeitsmaterial, die das Leben einer außergewöhnlichen Frau zeigen, deren Existenz eng mit der Einsamkeit der New-Mexico-Landschaften verbunden ist. In den Fotografien ihres Galeristen und späteren Ehemanns Alfred Stieglitz fand sie sich selbst als Kunstobjekt wieder, seine berühmten Fotos von ihr wurden damals als schockierend erotisch empfunden. Ergänzt wird die Darstellung durch Aufnahmen bekannter Fotografen wie Ansel Adams, Todd Webb und Arnold Newman, die einen Überblick über ihr gesamtes Schaffen bieten, einschließlich einer repräsentativen Auswahl ihrer Gemälde, Papierarbeiten und Skulpturen.

For the past three decades Parkett has worked hand in hand with the most compelling artists and authors of our time in order to bring them to a wider public. With the special summer issue 100/101, the publishers have decided to bring the publication of the printed art magazine to a close. Parkett volumes and editions will remain fully documented online and available via its book distributors. New, expanded Parkett exhibitions in various museums are in preparation as well, and will further explore the publication's singular approach as a 33 year time capsule and archive of contemporary art. This final issue will retrace the energies and ideas that inspired and underpinned Parkett and the special editions and works created by some 260 collaborating artists during the past 33 years. Collaborating artists will include Nairy Baghramian, Nicolas Party, Jordan Wolfson, Maurizio Cattelan, Marlene Dumas, Katharina Fritsch, Katharina Grosse, Marilyn Minter, Jean-Luc Mylayne, and Pipilotti Rist, among others. In interviews, conversations, and essays, Parkett Vol. 100/101 will highlight the major changes and events that have shaped this expansive epoch. It will be an occasion to take a clear-sighted look at the past, the present, and the future.

Parkett 85 celebrates the revered nonagenarian Austrian painter Maria Lassnig with new writing by Manuela Ammer, Robert Storr and Ludmila Vachtova; the Brazilian painter of carnival-inspired tropical plants and patterns, Beatriz Milhazes, with texts by Tanya Barson, Arto Lindsay and Barry Schwabsky; the strangely compelling French photographer of birds and bird habitats, Jean-Luc Mylayne, with writing by Josef Helfenstein and Fionn Meade; and the rising New York painter, Josh Smith, with texts by Christophe Cherix, Anne Pontegnie and Ira Wool. Also in this Gabriel Kuri and Damian Ortega in conversation; Mark Godfrey on Sharon Lockhart; texts by Mark Von Schlegell, Andrew Weiner, Rainer Michael Mason and Rachel Price. Insert is by Matthias Uhr and spine is by Josh Smith.

Nicole Eisenman, born 1965 in France, lives in New York, her work is captivating because of its fascination with the human condition, questions about interpersonal interaction and the precise observation of processes of alienation in civilisation. In her drawings, paintings and sculptures, the artist combines elements from pop cultural contexts (political satire, comics) with traditional art historical references to form a new unity. "Köpfe, Küsse, Kämpfe" (Heads, Kisses, Struggles) brings together works from all of Eisenman's creative periods. Against the backdrop of her artistic practice, in which various stylistic and compositional elements of historical painting become visible alongside pop-cultural influences, the show and the book are combine this with works of classical modernism from the collections of the cooperating museums. Through these selectively introduced historical works, the exhibition and the book, together with Eisenman's oeuvre, opens up a resonance space spanning a century in which social upheavals are presented in their urgency, but also with hope and confidence.

To celebrate the fortieth issue of Parkett , the editors present a special thematic issue. When beauty reemerges from Postmodernism, what does it look like? And how, when contemporary life demands so many different things from contemporary art, do we strike a balance between history and presence, politics and humor? Taking the children's game of Snakes and Ladders as a guiding metaphor, this gala issue offers six Holland Cotter on Francesco Clemente; Boris Groys on Peter Fischli and David Weiss; David Rimanelli and Max Weechsler on Gunther Förg; Gordon Burn on Damien Hirst; Joan Simon on Jenny Holzer; and Gilbert Lascault on Rebecca Horn. Also in this Dave Hickey on magic, Vik Muniz on apparitions, Jeff Perrone on boards and borders, Roger Denson on nomadic critical theory, and much more.

This volume documents the long-term initiative 'Safety Curtain' of Museum in progress, a project that is unique in the world. The exhibition series in the Vienna State Opera has represented a symbolic interface between performance and visual arts since 1998. It also creates a link between thorny historical questions and contemporary ways to address them. Beyond the actual curtain images that have originated over the years an associative and sensuous view to further related works of the participating artists in several different media forms is presented. The art project 'Safety Curtain', because of its exceptional quality, its year-long existence and its unusual dimension of 175 m² is singular and enables a distinctive perspective of art history of the past twenty years.

Friedrich Kuhn (1926–72) was a leading painter in the Swiss pop art movement of the 1950s and ‘60s, often called the Zürich School of the Little Mad World. Kuhn’s unusual work showcases his desire to create an individual style of painting that lies between figurative and abstract, while being laced with idiosyncratic references to modern and popular culture. Kuhn’s personality as a raucous maverick has often overshadowed serious interpretations of his work; Friedrich Kuhn allows us for the first time to consider both the legend and the art in context.             Designed to accompany a vast retrospective exhibition of Kuhn’s work at the Kunsthaus Zürich, this richly illustrated book reassesses Kuhn’s paintings as early ambassadors of Swiss art that prefigured trends that continue to shape the international art world today. Including many previously unpublished paintings and photographs of Kuhn’s art and performances, the book also presents new essays investigating his work and the myths surrounding his life story.

Since 1984, Parkett has been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in fully illustrated essays by leading writers and critics. In addition, each artist creates an exclusive limited edition, available to Parkett readers. The long list of artists who have collaborated with Parkett includes John Baldessari, Sophie Calle, Fischli/Weiss, Isa Genzken, Mike Kelley, Cady Noland, Meret Oppenheim, Gerhard Richter, Cindy Sherman, Rosemarie Trockel, Andy Warhol, and many more.