Die Frauenfiguren von Margit Palme verkörpern den Kampf gegen patriarchale Strukturen und zeigen sich in dynamischen, oft provokanten Posen. Seit über sechzig Jahren nutzt die Künstlerin die Technik der Aquatinta-Radierung, um ihre Visionen zu verwirklichen. Das Buch bietet einen umfassenden Überblick über ihr Werk und enthält Beiträge von renommierten Autorinnen, Kunsthistorikerinnen und Künstlerinnen, die sich mit feministischer Forschung beschäftigen. Die Vielfalt der Perspektiven bereichert die Auseinandersetzung mit Palmes Kunst und deren gesellschaftlicher Bedeutung.
How artists from Hans Arp to Mike Kelley have employed animal motifs to diverse ends Within the visual arts, animals--as pets, in zoos or farms, or as stuffed animals--have evoked an array of thematic matter: sex, hunger and affection; family and gender relations; socialization and domestication; and the enduring impact of colonial history. Aided by numerous critical essays, The Animal Withinexplores the popular appeal of animals in art to interrogate structures of violence and domination. As a motif, the animal serves as a powerful starting point for arriving at a materialist understanding of art and life, and not merely in a figurative sense--bones, skins, hides and feathers prominently feature in these artworks. Artists include: Hans Arp, Georg Baselitz, Joseph Beuys, Mike Kelley, Maria Lassnig, Ulrike Müller, Bruce Nauman, Nam June Paik, Mel Ramos, Dieter Roth, Niki de Saint Phalle and Carolee Schneemann.
The Swiss company Baloise has a reputation among art experts, but not just as an insurance and financial services company. With its programs that support art, its collaborations with museums, and the renowned Baloise Art Prize for young artists, which is awarded at Art Basel, the company has had a lasting effect on the development of contemporary art. Less well-known up to now is the fact that, parallel to the company's activities, it has also built a first-class art collection, which dates back to the mid-twentieth century. Since turning to contemporary art in the 1990s, the company has collected the works of notable artists. With a focus on photography and works on paper from the 1960s onward, some of the artists represented in the collection are Miriam Cahn, Simon Denny, Katharina Fritsch, Bruce Nauman, and Jeff Wall. Baloise Art is the first publication to provide a broader audience with an overview of the collection. Informative texts by prestigious authors accompany the artworks.
The publication undertakes a comprehensive reappraisal of a hitherto nearly
overlooked US-American art movement: Pattern and Decoration (1975-1985). By
reclaiming color, variation of forms as well as sensuality, artists such as
Valerie Jaudon, Robert Kushner and Miriam Schapiro radically distinguished
themselves from the predominant Minimal Art and Concept Art at that time.
Pattern and Decoration questioned not only traditional notions of art, but
also addressed broader political and social issues like the position of women
or ethnic minorities in the global art scene.
Pin is published on the occasion of Jenni Tischer's eponymous exhibition at mumok in Vienna. As this publication vividly captures, her work weaves an unlikely bond between minimalist sculpture and the frayed, human history of textile work. Unlike conventional exhibitions, Tischer's gallery arrangement blurs the boundary between display and artwork: walls and floor interlock, open cubes intertwine with "Viennese netting" recalling Thonet chairs, and architectural objects allude to looms and pin cushions. Display elements such as pedestals or frames are integral narrative elements, while colorful "fabric pedestals," reminiscent of unrolled scrolls, pepper the room. Here, minimalist sculpture is unraveled to reveal hidden histories. This publication ponders the impact of Tischer's anachronistic practice: What is a medium, and what kind of information can it convey? How are work processes and human labor inscribed into materials and surfaces? And why are textiles, as fields of discourse and practice, gaining momentum in the digital age? Between "pins" (needles) and PINs (personal identification numbers), this book considers the memory of materials and the digital encoding of identities, staking out a space for the human in a polished design world. Copublished with mumok, Vienna Contributors Manuela Ammer, Barbara Kapusta, Ines Kleesattel, Karola Kraus
Maria Petschnig setzt sich in ihren Arbeiten aus feministischer Perspektive mit dem weiblichen Körper und dem Blick auf diesen auseinander. In teils humorvollen Inszenierungen verfremdet sie mit Kleidungsstücken den eigenen Körper und zeigt in ihren Videos, Performances und Fotoarbeiten die grotesken Veränderungen, die sich daraus ergeben. In der Auseinandersetzung mit dem Blick auf ihren Körper hinterfragt sie mediale Darstellungsweisen normierter weiblicher Körper und thematisiert so Fragen zu Schönheit, Sexualität, Identität und Voyeurismus. Die Pubikation ‘Master Bedroom’ mit Textbeiträgen in Deutsch und Englisch schafft einen Überblick über Petschnigs Video- und Fotoarbeiten der vergangenen Jahre. Die Künstlerin lebt und arbeitet in New York City.
