Mixing art historical references with images taken from the internet, the paintings of Polish artist Wilhelm Sasnal (born 1972) borrow liberally from the image glut around us, appropriating anything from icons of popular culture such as Roy Orbison to paintings of the past such as Georges Seurat's "Bathers at Asnières"--from the lonesome cowboys in a Steven Spielberg film to the photographs of Enrique Metinides. In an era flooded by photographic images, Sasnal's work attests to the continuous spellbinding power of painting to cohere and recode visual data. This volume, published for a major show at the Whitechapel Gallery in London, surveys Sasnal's paintings of the past ten years. It opens with recent works referencing world events and the artist's extensive travels before returning to Pop-inspired work from the 1990s and reflections on the troubled history of his native Poland.

Wilhelm Sasnal

Arts & Photography

Wilmes, Ulrich

Individual Artists

Whitechapel Gallery

Transforming words into icons and images into wide-screen epics, Ed Ruscha has wholly reconceived the terms of painting for our era. Tagged variously as a Conceptualist, Pop artist or latter-day Surrealist, Ruscha flouts category, or rather incorporates all categories, always surprising and experimenting with both subject and method. His paintings are steeped in our times: cinema, advertising, logos, late capitalism and the twists and turns of postwar art have all informed his iconography since the early 1960s, arriving on the cool surfaces of his canvases with magnetic detachment. Ruscha eschews process and focuses exclusively on the final product: “the means to the end has always been secondary in my art,” he has said. Ruscha has also reinvented the use of words in art, finding disquieting ways to invest language with a weird, throbbing, ambient static, never aspiring to what he calls “word gestures,” since “each word is an excursion unto itself.” Fifty Years of Painting focuses on Ruscha's majestic oeuvre of paintings. A magnificent publication, it comes housed in a slipcase that sports the artist's classic painting “Standard Station” (1966), and, alongside fantastic reproductions, it contains a preface by novelist James Ellroy, essays by Ralph Rugoff, Alexandra Schwartz and Ulrich Wilmes, a text by novelist Bruce Wagner, an interview with the artist by Kristine McKenna, an illustrated chronology and an exhibition history. Ed Ruscha (born 1937) has made pioneering work in the media of painting, printmaking, drawing, bookmaking, photography and film since 1958. Associated in the early 1960s with the Ferus Gallery, Ruscha was included in Walter Hopps' landmark Pop art show New Painting of Common Objects, at the Pasadena Art Museum in 1962.

Ed Ruscha: Fifty Years of Painting

Wagner, Bruce

Ellroy,James

Rugoff, Ralph

Schwartz, Alexandra

D.A.P./Distributed Art Publishers

The paintings of Ellsworth Kelly (born 1923) are famous for their hard edges, minimalist abstraction and above all, their bright, vibrant colors. Less known are the black-and-white drawings, collages and paintings that preceded or accompanied many of them, despite the fact that they make up roughly 20 percent of his total output. Ellsworth Kelly: Black &amp; White and the exhibition it accompanies bring together the artist’s color-free work for the first time, and offer a fresh take on his long career, emphasizing his use of shape, contrast, texture and his incorporation of such everyday objects as a broken windowpane, a handrail shadow or the leaf of a plant into his abstraction. This catalogue makes clear that the scale of contrast between black and white was key to Kelly’s artistic self-discovery and subsequent development, and is crucial to any proper understanding of his oeuvre.

Ellsworth Kelly: Black & White

Reference

Hatje Cantz

•Richly illustrated and containing a wide range of historical documents, this is an in-depth history of the Haus der Kunst•Celebrates the 80th anniversary of the Haus Der KunstFor the Haus der Kunst in Munich, the question of how to deal with its own past arose directly after the end of the Second World War, when the building once again served as an exhibition space . This richly illustrated volume spans the key historical dates during which a social and political development took place, at whose beginning stood the ideology of the National Socialists and whose end marked the start of Germany's transformation into a democratic state. In this time period, it was not only the orientation of the Haus der Kunst's content that changed; as a result of the cultural-historical upheavals of this time, the basis for the building's development as an international exhibition venue was also laid. Today the Haus der Kunst plays a formative role in the discussion of relevant positions in contemporary art. It documents the historical developments within the context of political and cultural transformations, as well as their international parallels and references. Large exhibitions that were influential for the topography of the art of the twentieth century such as the World Exposition in Paris in 1937, the biennials in Venice, and the first documenta in 1955 provide the coordinates for the international dimension of the Haus der Kunst's story.

Histories in Conflict: The Haus Der Kunst And The Ideological Uses Of Art, 1937-1955

Wigley, Mark

Dercon, Chris

Okwui Enwezor

Grasskamp, Walter

Buchloh, Benjamin H.D.

Brantl, Sabine

Bodenschatz, Harald

History & Criticism

Sieveking

Jörg Immendorff: For All Beloved in the World

ENWEZOR, Okwui

Szeemann, Harald

Cohn, Danièle

Zaimoglu, Feridun

Borja-Villel, Manuel

Adorján, Johnanna

Walther König, Köln

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