Published to accompany an exhibition at the Musée national Picasso-Paris produced in partnership with the Calder Foundation and Fundacíon Almine y Bernard Ruiz-Picasso para el Arte, Calder, Picasso explores the uses of negative or empty space in the work of Alexander Calder (1898–1976) and Pablo Picasso (1881–1973), both in their resonances and their differences. With a focus on figurative as well as abstract themes, the exhibition links some 150 artworks by both artists via a thematic lens of void-as-matrix and the corollary proposition that confrontation with the void is a fundamental aspect of 20th-century modernism. These works are interpreted objectively as well as metaphorically, using the void as a prism through which to analyze the conceptual and formal tensions both artists deploy as a means to place the direct and personal experience of the spectator at the very heart of their work. The catalog maps the tangible traces of a relationship between these two men: their points in common, their encounters, their collaborations and the sometimes extreme confrontation posed in their works through the use of obscure or even illusory perspectives; it includes numerous major texts on these topics by respected specialists.

Calder-Picasso

Arts & Photography

Grau, Donatien

De Diego, Estrella

Coulibaly, Mariah

Dvorakova, Simona

Garnier, Claire

History & Criticism

Skira

Thomas Struth's most recent project, "Making Time," was exhibited at the Prado, Madrid, in the winter and spring of 2007, and is now compiled in this handsome catalogue from Turner. Making Time continues Struth's established work on the subject of public art venues, and consists of photographs depicting the Prado's famous collection and its visitors, photographs that were displayed throughout the Prado during his exhibit, as part of the museum's current ambition to open up fresh perspectives on its holdings. Over the course of two years, Struth made more than 400 images in and around the Prado, showing an "inhabited" public space, and highlighting the interactions between the exhibited paintings and their viewers. This volume also marks the first presentation of Struth's earlier work, from the spring of 2005, on Velázquez's great "Las Meninas" (1656), itself a classic study of spectatorship. The result is a multilayered dialogue between Struth, the Prado, its collection and its visitors.

Thomas Struth: Making Time

Individual Artists

Turner

Warhol was an extremely public figure, but a very private person. His guardedness, offset by his desire to place himself in front of the media, has created a confounding situation. While Warhol masterfully presented a honed persona to the world, his façade also drove critics, fans, acquaintances, and perfect strangers to hunt for evidence of his personal life. As a result, many observers who did not directly know Warhol feel a personal claim to the white-wigged phenomenon and often refer to him as Andy. Rather than using Warhol s formal surname, his given name hints at heightened familiarity and understanding.

Warhol on Warhol

La Casa Encendida

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