Book by Celant, Germano, Spector, Nancy, Bruno, Giuliana, Schmidt, Katharina

Rebecca Horn

Arts & Photography

Bruno, Giuliana

SPECTOR, Nancy

Schmidt, Katharina

Celant, Germano

History & Criticism

Guggenheim Museum Pubns

Arnold Böcklin, 1827-1901

Reunion des musees nationaux

Unterwegs entspannen. Das Ausmalbuch für die Bahn: (Fischer Taschenbibliothek)

FISCHER Taschenbuch

One of the essential artists of our time, Cy Twombly is known primarily for his paintings, but his lesser-known sculpture oeuvre is an important dimension of his work as an artist. This large-format publication reveals his extensive body of sculptural work. Inspired by Kurt Schwitters, Giacometti and Surrealist object art, some of his early assemblages date back to the 1950s. These pieces are composed of everyday found objects, which Twombly arranged in the vein of magical or fetishistic objects. Later he began to cover them with a uniform coat of white paint. Thus placed in a new formal context, the original meaning of the individual pieces is blurred, connecting them with a wide range of cultural references. Literature and music, landscape and plantlife are all evoked. Twombly's sculptures are always white, exuding both an odd, ethereal quality and an aura of timeless poetry.

Cy Twombly: Die Skulptur - The Sculpture (English and German Edition)

TWOMBLY, Cy

Individual Artists

Hatje Cantz Publishers

Rebecca Horn gained international recognition with her mechanical objects and mobile sculptures, among them such works as Paradieswitwe, Spiralbad, the wall drawing Les Amants, produced as part of an action, and her expansive Circle for Broken Landscape. The light-and-sound installation Lumi re en prison dans la ventre de la baleine and Yin Yang, a work created especially for a Dsseldorf exhibition, evoked striking atmospheric effects. The significance of this representative survey of Rebecca Horn's work--featuring some 25 installations and objects from the past 35 years--is emphasized by its juxtaposition with a selection of roughly 75 works from the artist's copious graphic oeuvre. Horn has been making drawings since the 1960s, as preliminary studies for her sculptures, as complementary treatments of sculptural themes, and as completely independent works. Her musical scores, technical drafts, and drawings are done in a remarkably calligraphic style and are frequently accompanied by words and lines of poetry. Body Landscapes offers readers an unprecedented opportunity to reconstruct the intense and fruitful dialogue between Horn's graphic works and her objects.

Rebecca Horn: Body Landscapes

Herkenhoff, Paulo

Zweite, Armin

Kruszynski, Anette

"Drawing has always been supremely important to me," Rebecca Horn said in an interview a few years ago, likely surprising many readers. Rebecca Horn: Drawings, Sculptures, Installations, Films 1964-2006 brings together a wide-ranging collection of the artist's works on paper, many produced in conjunction with her early performances. Along with props, they reveal the intense physical and mental work that went into the aesthetics of those pieces. A selection of diagrammatic representations also illustrates Horn's strategies in placing machines and equipment from films in exhibitions, where they took on a life of their own. The book also includes scores, technical designs and evidently spontaneous drawings, many of which are enriched with collaged objects, printed words and lines of poetry. This first publication devoted to a previously largely overlooked group of works provides an excellent survey of Horn's graphic art.

Rebecca Horn: Drawings, Sculptures, Installations 1964-2006

von Drathen, Doris

Hatje Cantz

Swiss painter Ferdinand Hodler is one of Europe's best least-known artists. Though he remained in Switzerland for his entire life, his international reputation has been growing in the past several decades, beginning with a traveling retrospective in the early 1970s. Hodler, who kept up on the latest movements brewing in Paris, is considered a Symbolist who tempered that movement's flights of fancy with Realism. He is regarded as a bridge between the Modern period and the impulses of mid-1800s Realism, Symbolism and Art Nouveau. As may be expected with such a range of influences at the artist's disposal, Hodler's style fluctuated widely throughout his career. His most well known painting may be "The Woodcutter" (1908), which was commissioned as an illustration for the Swiss 50-franc note. "The Woodcutter" is a strange and engaging mixture of Expressionism--the subject is depicted mid-chop in vigorous brush strokes--and Symbolism, as the ghostly landscape behind the figure supports an odd, bright blue, orb-like cloud. More than two decades since his last retrospective, this fresh and extensive assessment of Hodler's paintings finds much new territory to uncover.

Ferdinand Hodler

Bätschmann, Oskar

KOPP, ROBERT

Reference

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