Katy Siegel Knihy

This retrospective delves into the work of a groundbreaking artist, highlighting how she transcended the boundaries of Abstract Expressionism. It examines the influences and transatlantic contexts that shaped her artistic journey, offering insights into her innovative techniques and thematic explorations. Through a comprehensive analysis, the book celebrates her contributions to the art world and the lasting impact of her unique vision.

Gregory Crewdson (b. 1962, Brooklyn, New York) captures artfully condensed stories in his photographs, which revolve around the intrusion of the mysterious into the mundane. In a work from his series Twilight (1998-2002), for instance, yellow school buses are parked in front of white wooden houses, with groups of students standing or lying motionless across the landscape. The image appears idyllic at first glance but reveals an unsettling, altered reality that evokes a sense of the uncanny. What exactly is happening here? To dramatize his disturbing suburban scenes, Crewdson employs a level of effort typically associated with Hollywood films. Through meticulous lighting, cranes, set design, and extras, he stages his visions, which also serve as precise depictions of American everyday life. This publication gathers all of the artist's photographic works into one volume, including his latest, previously unpublished series Beneath the Roses.

Artist Rineke Dijkstra has appropriated the formal qualities of the studio portrait from the early part of this century--taking the convention of the full length, frontal and centrally composed portrait to its logical limits, she is able to penetrate to the core of her subjects. Each photograph is marked with a precise date and location, suggesting a conscious evocation of the work of the early 20th century photographer August Sander and his project to document the ''Citizens of the Twentieth Century.'' Dijkstra's photographs stand by themselves, bearing no reference to personal circumstances or the specific geographical details of the location--the power of her images lies in an intimate psychological connection between artist, sitter, and viewer. For Dijkstra's best known series of photographs--an extensive series of beach portraits of teenagers and children taken on beaches all over the world between 1992 and 1996--the artist sought out a certain introversion or unease in her subjects, capturing with rare perfection the human condition of feeling not-at-home in the world. This brilliant new monograph documents Dijkstra's recent photographic and video work.

Jeff Koons engages in a revealing dialogue with art curator Sir Norman Rosenthal, offering an intimate portrait of the life and art of one of the most significant and controversial artists of the twenty-first century. This book features interviews conducted over three years, providing unparalleled access to Koons’ thoughts and insights. It explores his thirty-five-year career, delving into his major series from the early inflatables to his latest works on antiquities. The conversations illuminate Koons’ interest in the works of other artists, the impact of his youth and family life on his art, and key concepts of his practice, including self-acceptance, ecstasy, and sexuality. This work serves as a crucial reference for understanding Koons and the nature of creativity in contemporary culture, offering a comprehensive look at his artistic vision and the influences that shape it.

1970 lud die Künstlerin Lee Lozano in ihr Studio ein und forderte die Gäste auf, in einen mit Geld gefüllten Krug Münzen hineinzugeben oder ihm welche zu entnehmen. Die unterschiedlichen Reaktionen schrieb sie nieder. So entstand ihr Werk Real Money Piece. In Geld, dem zweiten Band der Serie Art Works, stellen Katy Siegel und Paul Mattick 57 Künstlerinnen und Künstler vor, deren Arbeiten um das Thema Kunst und Kommerz kreisen. In der Einführung denken die Autoren über die Bedeutung von Geld in der modernen Gesellschaft nach, erläutern, welche Rolle die Kunst für Sammler und Märkte in der Geschichte spielte, und zeigen an ausgewählten Beispielen, wie Geld zum eigenständigen Thema in der Kunst wurde. Die handgezeichneten Banknoten von J. S. G. Boggs z. B. sehen so täuschend echt aus, dass der Künstler schon einige Male wegen Verdachts der Geldfälschung in das Visier der Fahnder geraten ist, obwohl seine 'Blüten' stets typisch Boggs’sche Elemente enthalten. Und für Joseph Beuys, den 'Schamanen' unter den zeitgenössischen Künstlern, stand fest: Kunst = Kapital, weil sie ihre eigene Macht und ihren eigenen Wert besitzt.