German artist Imi Knoebel (born 1940) is celebrated for his minimalist, abstract painting and large-scale sculpture. This exhibition catalogue reviews his earlier works, focusing on the central piece Raum 19 (1968)―a large, wooden environment that references the work of Knoebel’s teacher, Joseph Beuys.

Imi Knoebel: Core Pieces

Arts & Photography

Hentschel, Martin

Stüttgen, Johannes

Lang, Colin

Individual Artists

Kerber

Die Editionen 1963 - 2000.

Becker, Jürgen

Polke, Sigmar

Osten, Claus von der

Hatje Cantz Verlag

"In all eras there have been artists who have aspired to encyclopedic summation of the world, to find a form to accommodate the mess," as Samuel Beckett once put it. The Renaissance marked the juncture at which it became impossible for any one person to have read every book in existence (just as books became widely available for the first time, ironically); today it would be a feat even to count the number of toothpastes in your average grocery store. Andreas Gursky's photographs are merciless in their vertiginous will to make every last tube of toothpaste count, to compel every constituent into legibility. His optical fanaticism is not an effect of specific consumerist critique so much as a desire to set before the eye what was deemed too much for the mind, pressing the extreme surfeit of the world's contents against its limits. For this volume, Gursky has chosen more than 150 works from his fund of photographs, reaching back to his student days at the Folkwang Hochschule Essen and his studies with Bernd and Hilla Becher at the Kunstakademie Düsseldorf. The earliest exposures here include the Desk Attendants series and other unpublished photographs, and the most recent images were conceived especially for the book. Every single exposure in Gursky's encyclopedic morphology is a vital piece in the puzzle, which, over the course of his 28-year career, has amounted to an encyclopedia of the unencompassable.

Andreas Gursky: Works 80-08

Hatje Cantz

Born in 1954 in Nuremberg, Germany, but raised in an artistic family in South Orange, New Jersey (her father was the American sculptor Tony Smith), Kiki Smith has always occupied herself with questions of the human body and condition. Unlike classical figurative sculpture, which hides the insides of the body, Smith's work often visualizes the organs and the bodily fluids, highlighting the fragility and temporality of the body. Her work draws from myths and links spirit, human and animal worlds. Beautifully produced to include a selection of family photographs from the artist's childhood and ancestry alongside generous documentation of her recent concurrent one-person exhibitions in Krefeld, Germany and Nuremberg, this volume sheds new light on one of the most influential American artists of her generation. Taking as her starting point an eighteenth-century American silk embroidery entitled "First, Second and Last Scene of Mortality," which depicts a white woman working at a table while a white child and a black servant rest on one side of her and a closed black coffin sits on the other side, Smith here develops several narrative threads that revolve around the theme of the unmarried woman. With excursions into Christian iconography and the history of the American postcolonial era, she speaks also to the archetype of the inspired female creator or artist.

Kiki Smith: Her Home

Smith, Kiki

Seifermann, Ellen

The widely admired Swedish artist Mamma Andersson (born 1962) draws on a long and venerable tradition of northern European art for her painting, in particular that of Romantic landscape painting, whose moody horizons and ominous weather so acutely characterize her modest-seeming scenes. Of course, Andersson is equally apt to draw on photographs of forensics investigations or scenes from theatre programs, shifting fluidly from the heavy gravity of outdoor scenes to the meticulous detail of equally ominous interiors. This volume, published for an exhibition at the Kunstmuseen Krefeld, contextualizes Andersson’s painting in relation to the works of painters such as Dürer, Dick Bengtsson, Edvard Munch and Caspar David Friedrich, showing how she has likewise extrapolated larger meditations on the human condition from the genres of landscape and interior painting.

Mamma Andersson: Dog Days

JELINEK, ELFRIEDE

History & Criticism

Mimmo Rotella (German Edition)

Rotella, Mimmo

Kerber Verlag

Anton Henning

The Joan Miro Foundation presents "Her Memory", an exhibition by Kiki Smith organised in collaboration with the Museum Haus Esters in Krefeld and the Kunsthalle Nurnberg, containing recent work by this US artist. It could in fact be called an exhibition in progress, since it has been amplified in each venue anterior to the exhibition presented in the Foundation, which is the last location of this tour. Kiki Smith was born in Nurnberg in 1954 to an artistic family: her mother an opera singer and her father Minimalist artist Tony Smith. Her work is characterised by a constant reflection on human existence and on life and death; and her drawings of the human body, which are both traumatic and poetic. She reached international recognition at the end of the 1980s. In 2006-2007, the Walker Art Center in Minneapolis and the Whitney Museum in New York organised a touring retrospective exhibition, "Kiki Smith: A Gathering, 1980-2005", which signalled the end of a period.

KIKI SMITH: HER MEMORY

Fundacio Joan Miro

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