This artist's book by the influential but deliberately elusive Düsseldorf Conceptual photographer features a series of pictures of a woman putting on her makeup. A peer of Gerhard Richter, Joseph Beuys and Bernd and Hilla Becher, Feldman helped pave the way for artists like Richard Prince, Sherrie Levine and Christopher Williams.

Hans-Peter Feldmann: Birgit

Arts & Photography

Individual Artists

Walther König, Köln

Published on the occasion of the artistis recent one-person exhibition at New Yorkis Marian Goodman Gallery, this up-to-the-minute volume presents new, large-scale works by Gerhard Richter, most of which have never before been published. Four 2005 drawings are reproduced at 1:1 scale, along with more than 30 color reproductions of recent abstract paintings, a few double-page bleeds of patterned abstraction, one landscape and several studio views. Includes a substantial essay and an interview by the scholar Benjamin Buchloh, as well as a closing essay by Dieter Schwarz.

Gerhard Richter: Paintings 2003-2005

Whenever Gerhard Richter goes to Sils, a small town in the Swiss Alps, he makes photographs, some of which he overpaints and adds to his Atlas. Others he treats as autonomous works, as in those presented in this intimate artist's book. In the overpainted photographs, the levels of reality evident in photography are combined with those that exist in painting. However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting. The photographs reveal a parallel between both forms of painterly practice, evidence of the simultaneous existence of contradictory bodies of work in Richter's oeuvre.

Gerhard Richter: Sils

OBRIST, Hans-Ulrich

RICHTER, Gerhard

Bloch, Peter AndrE

Adelita Husni Bey: Who Cares?

Politics & Social Sciences

Social Sciences

If painting was for Matisse the expression of a "state of condensed sensations," his engravings consisted of "Traits Essentiels" or "essential lines:" they were recordings of a single sensation, and rarely passed through any series of stages or reworkings. In fact, engraving was a refuge. Marguerite Duthuit-Matisse, co-author of a catalogue raisonné of her father's prints, describes the graphic work he often executed at the end of a painting session as an "agreeable conclusion." After several experiments with drypoint, Matisse turned toward woodcut in 1906 (and gave it up almost immediately), then worked simultaneously in monotype and etching, where he achieved an astonishing tension between surface and line. Later, he turned to linocut and to sugarlift aquatint. It is on these projects that the selection in Traits Essentiels focuses: Lithography, which Matisse practiced from 1906 to 1952, and with which he was less experimental, is excluded. Text in French only.

Henri Matisse: Traits Essentiels: Monotypes 1906-1952

Cherix, Christophe

Julliard, Mayte

British sculptor Anish Kapoor reveals another facet of his diverse abilities with this beautiful accordion-fold artist’s book reproducing ten previously unpublished gouache paintings. Murkily sensual and full of swelling, luminous contrast between dark and light areas, these mostly abstract paintings were executed on the double pages of an accordion notebook in January 2011. Occupying a palette of blacks and grays, with occasional intrusions from glowing oranges and purples at the page’s edge, these works evoke the interplay of recess and protrusion that so famously characterizes Kapoor’s sculpture. As daily acts of meditation, they can be said to have as their primary subject the artist’s subconscious: “what I’m trying to do is paint the interior, my interior,” he says. This volume is perhaps the most exquisite manifestation of Kapoor’s intent to date.

Anish Kapoor: Sketchbook

Bernadac, Marie-Laure

Brigitte Cornand first met Louise Bourgeois in 1994, directing a documentary about the artist entitled Chère Louise. From that moment the two women became great friends.In 2004, Brigitte Cornand moved to New York and rented a place near Louise Bourgeois's house. She visited the artist every day and spoke with her in French, a language the artist had not spoken for a long time. In this very personal book, Brigitte Cornand evokes memories of the time she spent with Louise Bourgeois. Her texts are illustrated with pictures of the artist towards the end of her life as well as photographs of her house and studio. Anecdotes, arguments and conversations bring this exceptional artist back to life and give the reader a rare insight into the private and intimate life that played such a large part in the creative work of this humorous yet anxious woman.English and French text.

Brigitte Cornand: Grabigouji, to My Friend Louise Bourgeois

This self-portrait of Olafur Eliasson’s famous studio in Berlin conveys how Eliasson’s artworks are made and thought about before they enter the world, reversing the relationship between final artworks and artistic processes.

TYT (Take your time), Vol. 7: Olafur Eliasson - Open House

A detailed documentation of Kippenberger’s epic masterpiece 
Widely considered Martin Kippenberger’s (1953–97) masterpiece, The Happy End of Franz Kafka’s "Amerika" explores a utopia of universal employment, based on a section from Kafka’s titular novel in which the protagonist, Karl Rossmann, applies for a job at the “biggest theater in the world”: “whoever wants to become an artist should sign up!” Kippenberger’s installation, set out on a stylized football pitch, is made up of 50 table-and-chair ensembles. Alongside classic design icons and found objects, it also includes furniture especially produced by Kippenberger, as well as pieces by numerous artist friends, including Cosima von Bonin, Tony Oursler, Ulrich Strothjohann and Jason Rhodes. This publication examines the work, and includes, for the first time, “biographies” of the individual objects, tracing the contexts of their creation, collection and integration into the installation. This volume therefore constitutes the definitive documentation of The Happy End of Franz Kafka’s "Amerika".

Martin Kippenberger: The Happy End of Franz Kafka’s Amerika

A painter of tremulous interior atmospheres in the tradition of Vallotton and Munch 
Los Angeles–based Swiss Uruguayan artist Jill Mulleady (born 1980) creates critically acclaimed paintings whose abiding mood suggests pent-up tensions between isolate figures in incongruously lush, sumptuously chromatic landscapes and domestic interiors. Recalling early modernist painters of intensely loaded psychic atmosphere such as Félix Vallotton and Edvard Munch, and perhaps informed by her training in theater, Mulleady’s backdrops, rendered in her characteristic tones of gray, crimson and absinthe green, are generally invented, or may sometimes draw on the contours of her immediate environment, such as the parks of Los Angeles; her figures, meanwhile, seem lost in contemplation, alienated, even despairing at times. This beautifully produced volume presents the artist’s paintings from 2015 to 2021, and features a special cover design by Mulleady.

Jill Mulleady: Fear of Fear

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Books by Walther König, Köln