The work of Mexican artist Teresa Margolles revolves around what is perhaps the last great taboo topic of our time: death. Her approach is even more daring, for she is not interested in folklore and ritual but in the palpable reality of the corpse. "What does a corpse have to go through?" wonders Margolles, who is also a forensic medical assistant and a scholar in the field of communications. Employing a minimalist aesthetic, she transforms extinguished life, rendering it perceptible through artistic intervention, thereby rescuing "her" decedents from anonymous oblivion. This first publication devoted to Margolles' work presents an examination of her place in art history by Gabriela Jauregui, concluding remarks by the Spanish artist Santiago Sierra, and a literary text by the Mexican crime novelist Elmer Mendoza. His short story, written in experimental prose, offers impressions of life in Culiacan, one of the bastions of the narcotics business in Mexico.

Teresa Margolles

Arts & Photography

Kittelmann, Udo

Jauregui, Gabriela

Individual Artists

Hatje Cantz Publishers

Since the mid-1960s, Ohio-born artist Elaine Sturtevant has been concerned with one the of the most important themes in Western art--originality. Now living and working in Paris, she reproduces existing paintings by artists such as Marcel Duchamp, Roy Lichtenstein, Andy Warhol, Jasper Johns, and Frank Stella--to name just a few. Often indistinguishable from the originals, these works call attention to the crucial issues of origin and difference. Designed and produced in close collaboration with the artist, this opulently illustrated, two-volume publication is both a catalogue of her extensive oeuvre and an artist's book. Supplemented by probing essays and interviews, it offers an unprecedented overview of the unique and unparalleled work of this American artist.

Sturtevant: The Brutal Truth/Catalogue Raisonne, 1964-2004 - 2 VOLUMES (v. 1) (English and German Edition)

Maculan, Lena

Miroslav Tich  was born in 1926 in what is now the Czech Republic, and studied at the Academy of Art in Prague. After the communist takeover, he is widely reported to have spent as many as eight years in detention camps and mental hospitals. In the late 1950s, he began to make photographs with cameras he designed himself, salvaging their lenses from eyeglasses and making their bodies from tin cans, toilet-paper rolls and cigarette boxes. He chose his subjects from the streets and from public and private spaces of his small town, where he is not a favorite with the ladies--some have reported his peeping-tom-like activity to the police. The resulting images, grainy and often overexposed, cropped and developed at home, framed on card stock, decorated in pencil, and then left to deteriorate around Tich 's house, are haunting. In the 1990s, Tich  stopped making new work, but in the midst of his eighth decade, the art scene came crashing into Tich 's life with the 2005 Discovery prize from Rencontres D'Arles, followed shortly by his first solo show, at the Kunsthaus Zurich. Of his thousands of images, only a few hundred have since been seen. This catalogue features 80 photographs from the collection of the Museum of Modern Art (MMK), Frankfurt.

Miroslav Tichy

Bee, Andreas

Hatje Cantz

From the beginning of his career in the late 1980s, Italian contemporary artist Rudolf Stingel (born 1956) has been exploring the possibilities and limits of photorealism in painting. Made in close collaboration with the artist, this catalog covers the entire breadth of the protean artist’s career. Alongside various series of abstract and large-scale photorealistic paintings, it presents a selection of his large-scale works made of Styrofoam, rubber, painted aluminum and cast metal, as well as spaces covered in carpets or insulation panels that may be walked on or touched. These works reveal the ambiguity between painting and décor, and question painting's relationship with architectural space and interior design. Stingel has shown in major museums around the world and is in the collections of the Museum of Modern Art, the Art Institute of Chicago and others.

Rudolf Stingel

What might the collections of Western art galleries look like today if a global understanding of art had informed their development? Subjecting its collection to a critical revision, the National Gallery in Berlin investigates, looking at artworks from non-European centers of modernism and exploring the untold stories and overlooked connections behind them.             Accompanying a large-scale exhibition featuring artworks from all over the world, this catalog considers exchanges like the Dadaist Tomoyoshi Murayama’s sojourn to Berlin in the 1920s, the painter Heinrich Vogeler’s turn to the Soviet Union in the 1930s, and the famous Fluxus artist Joseph Beuys’s collaborations with Argentinian ecologist Nicolás García Uriburu in the 1980s. Marking a paradigm shift in a globalizing present, this revised narrative of art from 1900 to the present explores the historical, international, and transregional connections undergirding the great art movements of the twentieth century.   

Hello World: Revising a Collection

History & Criticism

Hirmer Publishers

A monograph on abstract artist Jack Whitten, who strove throughout his life to connect across cultural, historic, and artistic boundaries. Jack Whitten's alluring and inventive paintings are part of the collections of some of the world's most prominent museums and galleries--but this profoundly inventive artist worked primarily under the radar for most of his life. This book, conceived with Whitten's collaboration shortly before his death in 2018, brings his work into focus, highlighting in particular the themes of history, politics, and music. As a young man in Alabama, Whitten was angered by the racism he experienced. When he moved to New York City, he was inspired by the Abstract Expressionists dominating the art scene there. This book examines Whitten's influences and alliances--including his relationship to his mentors Norman Lewis and Willem de Kooning--to trace how the artist never stopped experimenting and innovating. His riotously colorful oils gave way to massive acrylic "Slab" paintings. These were followed by kaleidoscopic mosaic paintings that capture and redirect light; the "Black Monoliths" series, memorializing Whitten's personal heroes; and his later works, which embrace technology and the digital age.

Jack Whitten

Beckstette, Sven

Prestel

Andy Warhol's Time Capsule 21

Beginning in the 1970s, Andy Warhol collected and stored the remains of his most unusual life in 612 brown cardboard boxes, the so-called Time Capsules. To date, only 100 of these boxes have been opened and examined. Everything Warhol deemed interesting and worth keeping--from precious objects to the most quotidian of souvenirs--was gathered together in these prosaic containers. The collecting strategy was straightforward enough: Warhol would keep an open box beside his desk, dropping in the daily flood of correspondence, magazines and newspapers, gifts, photographs, business records, collectibles, and ephemera that passed through his hands. This Time Capsule in progress would be taped shut and dated by an assistant when Warhol deemed it complete. Today, Warhol's leftovers provide us with the possibility for entering the atmosphere and curious cosmos of a life whose 15 minutes of fame may never really end, despite its physical end having long since passed. This first publication of Warhol's most personal diary will help the careful reader to reconstruct the artist's personality. Each and every item contained in Time Capsule 21 is meticulously revealed. This particular box was chosen because it contains a phenomenal amount of Warhol's art from the 1950s and 1960s, as well as common documents that have turned out to reveal facts about Warhol's life and work--that have, for instance, led to the dating of the drawing Dead Stop (1954) and the establishment of an approximate date for Warhol's first meeting with Leo Castelli. Also included are many images that Warhol used for source material. Leafing through Time Capsule 21, the reader has only to let each object take him or her on a journey into the murky past of The Factory, Studio 54, and Warhol's other haunts.

Smith, John W.

Wrbican, Matt

WARHOL, Andy.

DuMont

Otto Piene: More Sky

Verlag der Buchhandlung Walther Konig

Mariana Castillo Deball: Parergon

Bernard Buffet (1928 ndash; 1999) is an artist who was once feted as being one of France's most important painters and the legitimate successor of Picasso. As the 'painter of existentialism' and the man who found the images to describe post-War sensitivities, Buffet's works had a visual presence and renown in West Europe that almost no other painter has achieved since. This immense popularity in the 1950s and 1960s was followed by critics and the institutional art world both rejecting his work most incisively. The vitriolic tone of this rejection intimates that Buffet should be considered someone who was suppressed rather than forgotten. He hardly varied his distinctive, expressive style through the decades and with it Bernard Buffet transformed an inconceivable number of themes, be they violent or trivial, into paintings. Edited by Udo Kittelmann, this is the first monograph on Buffet in many years and it re-positions the artist back into the art world. English, German and French text.

Bernard Buffet: Maler, Painter, Peintre

Walther Konig

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