Sigmar Polke: Works on Paper, 1963-1974 accompanies the Museum of Modern Art's exhibition of drawings, watercolors, and gouaches by this famous German painter. Polke's works on paper are beautiful and funny with strong tinges of emotion. Potato Heads: Nixon and Khrushchev, from 1965, is a colorful watercolor line drawing of two world leaders with bulbous heads and green polka dots. His almost-comic-book style can be both sweet, as in Young Peas, an image from 1963 with quickly drawn circles, and unnerving--an untitled gouache from 1965 depicts a ghostly figure and a swastika. Polke was born at the end of WWII and came of artistic age at a time when Germany was undergoing major cultural changes. It was during this period of the 1960s that abstract expressionism was taking over the art scene, yet Polke was committing himself to "an idiom that was crude and humorous, its images outrageous, its content seemingly trivial, and its social message obvious although ambivalent." His drawings from this era highlight his interests in culture, politics, and urban life more obviously than his later paintings, photographs, and screen printings. Also included in the catalog are images from Polke's sketchbook and essays by Michael Semff, Bice Curiger, and Margit Rowell. This book is a wonderful opportunity to explore Polke's early art, and it marks the first time that his works on paper have been shown together. --Jennifer Cohen 200 pages, 326 illustrations including 299 in color.

Sigmar Polke: Works on Paper 1963-1974

Margit Rowell

Bice Curiger

Michael Semff

Museum of Modern Art

One of the greatest American painters of the 20th century, Georgia O'Keeffe is beloved by a broad audience that ranges from the most erudite art historian to the twelve-year-old girl next door. Her monumentally sensuous oil paintings of flowers hang in the best museum collections but are known as well via mass-produced posters, greeting cards and calendars; her weathered, elegant, fierce self has long been mythicized through Alfred Stieglitz's classic black-and-white photographs of his wife. This large-format monograph on O'Keefe renews her place in the modern canon and encourages an intensive encounter with her work. Her radical departures from imitative realism, the style that was prevalent when she began to study art making, eventually led to an idiosyncratic painting style characterized by a state of suspension. Over the course of her lengthy career--she worked up until two years before her death at age 98--she discovered and developed a personal language through which to express her own feelings and ideas, creating bold picture conceptions and spatial designs that hover somewhere between the real and the abstract, the close-up and the monumental, natural representation and artificiality.

Georgia O'Keeffe

Arts & Photography

History & Criticism

Hatje Cantz Publishers

Hypermental: Rampant reality, 1950-2000 : from Salvador Dali to Jeff Koons

Christoph Heinrich

Hatje Cantz Verlag

Glenn Brown

John-Paul Stonard

John Chilver

Taschen

The Baroque era of the 17th century is associated with sensuality, extravagance and theatricality. This abundantly illustrated, full-color exhibition catalog from Kunsthaus Zürich juxtaposes the work of contemporary luminaries such as Cindy Sherman, Maurizio Cattelan and Juergen Teller with those of Baroque era masters such as Pieter Aertsen, Valentin de Boulogne and Jacob Jordaens. This exhibition highlights works that approach life with sensualist intelligence, proclaim a vital exuberance and link to questions about what constitutes art itself through the connections with contemporary art. Texts by Bice Curiger, Elfriede Jelinek, Eileen Myles and Raoul Vaneigem and a discussion with Nike Bätzner, Bice Curiger, Victoria von Felmming, Michael Glasmeier and Tristan Weddigen.

Riotous Baroque

Ram Distribution

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 mini-collaborations: 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 issue: Dave Hickey on magic, Vik Muniz on apparitions, Jeff Perrone on boards and borders, Roger Denson on nomadic critical theory, and much more.

Parkett No. 40/41 Snakes & Ladders

Boris Groys

Dave Hickey

Holland Cotter

David Rimanelli

G. Roger Denson

Joan SImon

Jeff Perrone

Parkett

Swiss artist Hannah Villiger (1951-1997) was trained as a sculptor and always considered her work sculpture. Her artistic medium, however, was photography. In the early-1980s Villiger's own body became the focus of her work: it appears fragmented, distorted, twisted beyond recognition. Villiger developed her own unique way of working: Polaroid shots that she enlarged to a size of approximately one square meter (40 x 40 inches). With the Polaroid camera she circled around her own body using the straightforwardness of the medium. The "blindness" of the camera redefined the structure and the volume of her body parts. This first international monograph, with catalogue raisonné, reveals Villiger as a radical predecessor of many of today's artists who create images of their own bodies. In her in-depth essay Claudia Spinelli traces the outlines of Hannah Villiger's personal and artistic development and poignantly examines the crucial relationship between Villiger's life and her work. Griselda Pollock's essay takes a close look at Villiger as a woman and an artist, highlighting the visionary power of the work. Pollock lucidly discusses the problems and obstacles Villiger, as a female-identified artist, had to face in a phallocentric, patriarchal visual culture. David Levi-Strauss ponders the intricate relationship of sculpture, photography and the human body in the work, whose daring and radical formal concepts and innovations remain as cutting-edge as ever. 
Edited by Jolanda Bucher and Eric Hattan. Essays by Jean-Christophe Ammann, Bice Curiger, Annelie Pohlen, Griselda Pollock, Claudia Spinelli, David Levi Strauss and Hannah Villiger. 
150 color and 300 b&amp;w. 9.5 x 12.5 in.

Hannah Villiger

David Levi Strauss

GRISELDA POLLOCK

Claudia Spinelli

Jean-Christophe Amman

Annelie Pohlen

Individual Artists

Scalo Verlag Ac

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Books by Bice Curiger