Daniel Birnbaum Books

Die schwedische Künstlerin Marie-Louise Ekman zeigt neben einer neuen umfangreichen Werkreihe von Gemälden etwa 200 Arbeiten aus Schaffensphasen ab den späten 1960er-Jahren. In ganz eigener Bildsprache setzt sie oftmals feste Figurenkonstellationen in Szene und unterzieht sie einer graduellen Verschiebung von Beziehungs- und Rollenmustern. Das Theater dient ihr als immer wiederkehrende Metapher. Ekmans teils auf persönlicher Erfahrung beruhende Bilder decken Absurditäten des Alltags auf und unterminieren gesellschaftliche Konstruktionen. Es ist die erste Überblicksschau seit 1998, die ihrem gesamten Œuvre gewidmet ist. Ebenso wie die Künstlerin selbst zwischen wechselseitig aufeinander wirkenden Ausdrucksformen der bildenden und darstellenden Kunst pendelt, werden auch Marie-Louise Ekmans Film- und Bühnenwerke als zentrale Elemente in die Ausstellung einbezogen.

Hilma af Klint became known to a wider audience in 2013, nearly 70 years after her death, in conjunction with Moderna Museet's Stockholm exhibition Hilma af Klint: Abstract Pioneer. Six years later, her work was exhibited at the Guggenheim Museum in New York. Both exhibitions saw record numbers of visitors, and today she is one of the world's most acclaimed artists.Hilma af Klint has become incredibly popular and beloved throughout the world, notes Daniel Birnbaum, co-editor with Kurt Almqvist. What makes her art interesting is that the works are highly interconnected. A catalogue raisonné is necessary in order to see the different cycles, motifs and symbols that recur in a fascinating way. If people want to truly understand how Hilma af Klint's works function, they need these books.The paintings in the catalogue raisonné are presented in the same order as Olof Sundström, also a follower of anthroposophy, numbered them in 1945, based on Hilma af Klint's notes. The forewords to the volumes are short and concise. They present facts about the works rather than interpretations. The works are printed in an exclusive edition designed by Patric Leo housed in a specially produced slipcase to hold all seven volumes.

Hilma af Klint became known to a wider audience in 2013, nearly 70 years after her death, in conjunction with Moderna Museet's Stockholm exhibition Hilma af Klint: Abstract Pioneer. Six years later, her work was exhibited at the Guggenheim Museum in New York. Both exhibitions saw record numbers of visitors, and today she is one of the world's most acclaimed artists.Hilma af Klint has become incredibly popular and beloved throughout the world, notes Daniel Birnbaum, co-editor with Kurt Almqvist. What makes her art interesting is that the works are highly interconnected. A catalogue raisonné is necessary in order to see the different cycles, motifs and symbols that recur in a fascinating way. If people want to truly understand how Hilma af Klint's works function, they need these books.The paintings in the catalogue raisonné are presented in the same order as Olof Sundström, also a follower of anthroposophy, numbered them in 1945, based on Hilma af Klint's notes. The forewords to the volumes are short and concise. They present facts about the works rather than interpretations. The works are printed in an exclusive edition designed by Patric Leo housed in a specially produced slipcase to hold all seven volumes.

Hilma af Klint is now regarded as a pioneer of abstract art. Her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich. Now, for the first time, af Klint's works, some 1,600 in all, have been collected in a Catalogue Raisonné. Af Klint's work should be seen and appreciated in the series of paintings often depicting specific themes and this ground-breaking publication, divided into seven volumes, allows for this. Volume IV, within the series Parsifal she explored her inward self through the journey of a boy and a girl and their various levels of consciousness. In her Atom series, af Klint explored the inner parts of our existence through what scientists then considered the smallest particles in the world. Produced with the permission of the Hilma af Klint Foundation and featuring introductions by Daniel Birnbaum and Kurt Almqvist, a separate slip cased edition containing all seven volumes will be available in autumn 2021.

"This volume of Klint's catalogue raisonné is different from the previous ones since it contains works from many periods of her life. The first section contains her earliest works, created during her academy years. The rest of the book is structured according to themes rather than to chronology. In sections devoted to portraits, landscapes, and botanical studies we present a representative selection of works that, at least roughly, correspond to these categories." -- Foreward.

Hilma af Klint is now regarded as a pioneer of abstract art. Her work from the early 20th century predates the first purely abstract paintings by Kandinsky, Mondrian and Malevich. Now, for the first time, af Klint's works, some 1,600 in all, have been collected in a Catalogue Raisonné. Af Klint's work should be seen and appreciated in the series of paintings often depicting specific themes and this ground-breaking publication, divided into seven volumes, allows for this. Volume VI focuses on the time after her mother's death in 1920 when Hilma af Klint gave up her geometrical works and began to paint with watercolours, as in the series On the Viewing of Flowers and Trees, from 1922. Produced with the permission of the Hilma af Klint Foundation and featuring introductions by Daniel Birnbaum and Kurt Almqvist, a separate slip cased edition containing all seven volumes will be available in autumn 2021.

In these essays and conversations, Daniel Birnbaum explores what conceptual artist Daniel Buren referred to as the ?frames of art?. As a director of institutions, he has organized events inside and outside some of the most significant art institutions in Europe, including the Venice Biennale, the Städelschule in Frankfurt, Moderna Museet and the Centre Pompidou. Like few other curators he has pushed the boundaries of the studio, the exhibition, and the museum in an attempt to find new ways to ?frame? art . The volume contains examples of curatorial approaches to education, exhibition-making and the presentation of collections

Olafur Eliasson’s urban projects often create a stir, whether he temporarily colors canal water green in Stockholm, generates a double sunset in Utrecht, or constructs waterfalls in New York. His art challenges viewers' perceptions of the urban landscape. Recently, numerous installations have appeared in Berlin, featuring enigmatic objects like mirrored bicycles, massive driftwood trunks, and an iced-glass pavilion, all part of the exhibition “Innen Stadt Außen.” This exhibition links various installations in Berlin’s urban space with works displayed inside the Martin-Gropius-Bau. Eliasson, who has lived and worked in Berlin since 1994, aims to heighten awareness of the environment through his art, incorporating natural phenomena such as light, water, reflections, time, and movement. He believes art should be accessible in public spaces, engaging people where they are rather than solely in museums. This publication analyzes Eliasson’s artistic practice and the interplay between urban space and museums. It features contributions from Daniel Birnbaum, Lorraine Daston, Regula Lüscher, and a dialogue between Mark Wigley, Eliasson, and Birnbaum. Designed by Heimann und Schwantes, the volume showcases the complete Gropius-Bau exhibition and the Berlin projects through over 200 color plates.

Art isn't just about creating work anymore. Today, external pressuresand constraints play a large role in the artistic process and production.In recognition of this reality, the Institut für Kunstkritik held a series ofconferences in 2006 and 2007 to explore the value system that resultsfrom what they dubbed the New Spirit of Capitalism and to confronttheoretical models with ad-hoc conditions of production. The thoughtsof conference participants Luc Boltanski, Sabeth Buchmann, TimGriffin, W.J.T. Mitchell, Sighard Neckel, Martin Saar, and Paolo Virnoare compiled in this book of questions and dilemmas for today'scultural producers and society at large.

This guide addresses diversity and inclusion in a meaningful and constructive way, encouraging early years educators to reflect on and review provisions. It is a vital read for all trainee and practising early years professionals, reception teachers, nursery teachers and managers.

Compiled for the first time here, the critic, artist, gallerist, dealer, translator John Kelsey's selected essays gamesomely convey some of the most poignant challenges in the art world and in the many social roles it creates. “When the critic chooses to become a smuggler, a hack, a cook, or an artist,” Kelsey said at a 2007 conference at the Städelschule in Frankfurt am Main, “it's maybe because criticism as such remains tied to an outmoded social relation.” It is precisely this relation that Kelsey intends to not only critique but also to surpass. In this way, Kelsey's “Rich Texts” play the double role of explaining the art world and actively participating in it; they close the distance between the work of art and how we talk about it. Originally published in Artforum—where Kelsey is a contributing editor—Texte zur Kunst, Parkett, and various artists' catalogues, the essays compiled in Rich Texts have all been written over the last decade, and therefore embody a timeliness that strikes at the core of the contemporary art world and the crises that have come to define it. Institut für Kunstkritik Series

Based on the blockbuster 2022 solo show in London, KAWS: New Fiction documents the groundbreaking, multi-layered exhibition that presented the artist's new and recent works in physical and augmented reality. A unique collaboration between the acclaimed artist KAWS, the Serpentine Galleries, digital art platform Acute Art, and the online video game phenomenon Fortnite, KAWS: New Fiction bridges the gap between the physical and virtual worlds, showcasing KAWS's artworks as they've never been seen before. This one-of-a-kind book chronicles the iconic KAWS figure as it journeys through viewing the exhibition's paintings, sculptures, site-specific additional artworks revealed via augmented reality (visible at the show through a dedicated AR app), and the virtual recreation of the physical gallery simultaneously featured in Fortnite. KAWS: New Fiction is a celebration of the unprecedented exhibition, and KAWS's creative influence, as it was experienced in physical, virtual, and augmented realities.

An hour north of Rotterdam, Ben van Berkel and Caroline Bos lead the 45-person UN Studio, founded in 1998. With a partner's declaration that "the box is dead," they have built a network of researchers and specialists focused on architecture, urban development, and infrastructure, aiming to create projects that integrate brief, construction, infrastructure, circulation, form, and space. Their Erasmus Bridge, a sinuous roadway suspended from a single pylon, has become a symbol of modern Rotterdam. The science center for Carnegie Mellon University in Pittsburgh features a Euclidean grid of beams and columns, described by van Berkel as "a sock being pulled back on itself." Following the success of their three-volume publication Move, UN Studio seeks new perspectives with UNFOLd. This work includes documentation of recent projects and a critical examination of previously unpublished designs, such as the Arnhem station area, a generating station in Innsbruck, a Nuclear Magnetic Resonance laboratory in Utrecht, and the winning design for Ponte Parodi in Genoa. With a personal touch, UNFOLd immerses readers in the firm's design process through texts by Bos and innovative architectural photography.

A study of the artist and his poetic explorations of science and perception.

This is the second in the Summit publication series, disseminating key insights of the 2018 Summit and extending a global dialogue on an important social issue: art in the digital age. The multidisciplinary perspectives come together through the inspirational book design of Irma Boom. Acting as a cultural incubator for innovative ideas and change, the Verbier Art Summit is an international platform erected to optimise the role of art in a global society. Their mission is to connect thought leaders to key figures in the art world and thus position the Summit as a catalyst for innovation and change. Their vision is to create an influential platform in a non-transactional context for artists, curators, museum directors, private and corporate collectors, art historians/critics, gallerists and art consultants to generate new insights and ideas. Text: Karen Archey, Ed Atkins, Lars Bang Larsen, Douglas Coupland, Olafur Eliasson, Susanne Pfeffer, Pamela Rosenkranz, Anneliek Sijbrandij, John Slyce, Dado Valentic, Paul F. M. J. Verschure, Jochen Volz, Anicka Yi

The former director of the Museum of Modern Art in Stockholm makes his literary debut with this dramatic and riveting novel of book publishing, emigres, spies, and diplomats in World War II Sweden based on his grandfather's life

Hilma af Klint used spiritual science, research-oriented methods, a term taken from anthroposophy, to try to understand the spiritual evolution and development of humanity. She also investigated and utilized the geometric forms of plants and other objects in her artistry

This publication gathers the interior photographs of Amy Simon (born 1957). Like the apartment depicted in these images, the places where Simon works hold special significance for her, attuned as she is to the mood and suggestiveness of interiors. Further exploring Simon's engagement with issues of domesticity, the book features a series of new drawings and wallpaper designs recently exhibited at the Venice Biennale.

Uncertain States of America offers an expanded look at a series of major installations by an emerging generation of artists (most of them were born after 1970). Their source material derives not only from today’s media-saturated world, free-form use of new materials, techniques and procedures which permeate each other and are juxtaposed, but also a canny knowledge of new art-historical references and an ability to respond in a complex and sophisticated way with a various extent of personal commitment as well as a certain distance in an age of political and social dissonances. Uncertain States of America is the result of an extensive, two-year, research project by the curators, who conducted more than 500 studio visits throughout the United States, compiling over 2000 files on young American artists. Their selections reflect an astute, yet contentious, assessment of the current state of American art and culture. “The exhibition is not entirely American—influences come from everywhere,” state the curators. “In a period where the official political culture of the United States is viewed with great skepticism on the other side of the Atlantic, it seems important to remind ourselves of the complexity and at the same time the variety of the American artistic scene. The ‘Uncertain States of America’ are not only uncertain, they are many.”

This volume documents the long-term initiative 'Safety Curtain' of Museum in progress, a project that is unique in the world. The exhibition series in the Vienna State Opera has represented a symbolic interface between performance and visual arts since 1998. It also creates a link between thorny historical questions and contemporary ways to address them. Beyond the actual curtain images that have originated over the years an associative and sensuous view to further related works of the participating artists in several different media forms is presented. The art project 'Safety Curtain', because of its exceptional quality, its year-long existence and its unusual dimension of 175 m² is singular and enables a distinctive perspective of art history of the past twenty years.

First North American publication on the young German artist who has swept through Europe with his exhuberant, disturbing depictions of post-Soviet men and women caught up in oblique world of productivity without purpose.

This two-volume catalog offers essays, artist texts, and interviews, as well as documentation of every installation included in the Berlin Biennale. Featured artists include Carlos Amorales, Joseph Grigely, Inka Essenhigh, Aernout Mik, Jonathan Ocampo, Surasai Monk, Alicia Framis, Liam Gillick, and Renee Green.Edited by Saskia Bos. Essays by Daniel Birnbaum, Saskia Bos, Nicolas Bourriaud and Annie Fletcher. Artists Carlos Amorales, Fiona Banner, Parastou Forouhar, Alicia Framis, Kendell Geers, Liam Gillick, Renee Green, Joseph Grigely, Christian Jankowski, Aernout Mik, Adi Rosenblum, Manuel Ocampo, Tsuyoshi Ozawa, Dan Peterman, Rosangela Renno, Anri Sala and Fred Tomaselli. 15 x 10.25 in.160 color illustrations