Renate Wiehager Books

This generously illustrated volume places German sculptor Charlotte Posenenske's groundbreaking works from the 1960s firmly within the history of Minimalist sculpture and Conceptual art. A contemporary of Donald Judd, Posenenske is most known for her body of spare, repetitive forms made from industrial materials, corrugated cardboard, pressboard and sheet metal, which she manipulated and bent for public spaces and performative appearances. In the mid-1960s, after producing several series of Abstract Expressionist and Constructivist paintings, Posenenske began the body of work she is most associated with today: the infinitely positionable and site-specific ventilation shaft-like series Square Tubes (1967). She was featured in Documenta 12 in 2007 and her pieces are part of numerous collections, but her work receded from the foreground when she abandoned sculpture in 1968, feeling that art did not have sufficient political impact. Posenenske died in 1985; this monograph secures her legacy.

In recent decades, the border areas between photography and film have emerged as an important field of contemporary photographic art. Well-known practitioners include the American artist Cindy Sherman with her "Film Stills," a series of black-and-white self-portraits evoking film stills from the 1940s and 1950s both in form and content, and Sam Taylor-Wood, whose photographic panoramas-sometimes more than 30 feet long-forge interpersonal dramas from individual pictures, not unlike unrolled scrolls of film. With works by 40 international artists, this book is the first dedicated to a growing artistic fascination. Based on the observation that at the beginning of the 21st century the history of the moving picture is at an end and yielding fast to the reality of accelerated information, the book bridges the gap between the "classical" position of photography and contemporary work using the Internet and other technologies.

In their youth, Minimalism's elemental forms, serial accumulations and industrial materials argued consistently against abstract art's subjective gestures. Non-relational, non-hierarchical and anti-compositional were the words of the day. Despite all this, Minimalist work was and remains grounded in individual arguments, whether political, formal, art-reflective or purely aesthetic. Minimalism and After displays a broad spectrum of Minimalist work and explores the art world's continuing Minimalist tendencies from the 1960s to the present day, demonstrating the ways in which Minimal art has been understood and absorbed over decades and by generations. What young international artists might be better understood from the point of view of the history of Minimal art? Images here track the central criteria of Minimalism from today's the essentially sculptural presence of the picture-object, coolly geometrical structures, intuitively intelligible order and proportions, works presented so that they relate to the space and the viewer, rejecting a symbolic or narrative nature. Minimalism and After presents about 200 pieces by approximately 100 artists, including established players like Michael Heizer, Dan Graham and Robert Ryman and some of the younger crowd, including Liam Gillick and Michael Zahn. Essays consider national and stylistic contexts.

Published to accompany the 4th International Foto-triennale held at Esslingen, 1998

At the heart of this book are the Dusseldorf protagonists Heinz Mack, Otto Piene and Gunther Uecker, along with 20 artists from their wider circle who were also among the first to be involved in the Zero movement.

This volume for the first time examines the women in and around Duchamp's life and work, focusing on contacts and convergences from Duchamp's youth up until his death in 1968. Some of the women geathered here were central figures in early twenty-century modernism, while others were part of fascinating intellectual and artistc networks that were, until now, in need of discovery. "Duchamp and the Women" introduces readers to the cultural circles and artistic movements in which the women presented were active and played a formative role. Exhibition: Daimler Contemporary Berlin, Germany (29.02.2020 - 07.02.2021)

\"I think that cars today are almost the exact equivalent of the great Gothic cathedrals," Roland Barthes famously said. "I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object." For evidence of this dictum, one need look no further than Cars, the 1986-87 series of silkscreen prints and paintings that Andy Warhol (1928-1987) executed at the behest of Mercedes-Benz in honor of the esteemed German automaker's centenary. This volume of the same name collects Warhol's silkscreens together with the work of three other artists featuring Mercedes-Benz automobiles: drawings and airbrush paintings by Robert Longo (born 1953), videos by Sylvie Fleury (born 1961) and Vincent Szarek (born 1973), who takes design elements from the Mercedes-Benz SLR as the starting point for the sculptures depicted here.

Marcel Duchamp's disguises and countless photographic self-portrayals, and his humorous commentaries on art, the art industry, art criticism, and art history, are legendary in word and image. Less well known is a Marcel Duchamp who, with great empathy and strategic awareness, embraced the cause of the artists in his contemporary cultural environment: as curator of exhibitions from the early 1910s to his death in 1968, as juror and consultant for some of the most important collections, museums, and galleries of modern art. The volume outlines nearly seventy exhibitions, supplemented by recent research findings, and illustrates Duchamp’s close cooperation with leading figures of his time, including Louise and Walter Conrad Arensberg, Katherine S. Dreier, Francis Picabia, Sidney and Harriet Janis as well as Andre´ Breton, Julien Levy, and Peggy Guggenheim.

Marcel Duchamp hat die Ausstellungspraxis zu einem zentralen Element seines Schaffens gemacht. Durch kuratorische Gesten und Konzepte, die die Inszenierung seiner Arbeiten prägten, konnte er sich von traditionellen Künstlerbildern distanzieren. Seine fotografischen Dokumentationen, Beiträge zu Kunstmagazinen und seine Rolle als Berater und Juror für Ausstellungen im Kontext des amerikanischen Modernismus, Dada und Surrealismus zeigen, wie vielfältig seine Einflussnahme war. Duchamp verlieh dem Kuratieren, Ausstellen und Sammeln eine neue künstlerische Dimension. Während er sich von bestehenden Strukturen abwandte, näherte er sich der heutigen Vorstellung von kuratorischer Praxis als ästhetischem Medium. Die These des Symposiums und der begleitenden Publikation besagt, dass er einer der ersten „Künstler-Kuratoren“ war, dessen Einfluss sowohl auf die Rezeption seines Werkes als auch auf die kunsthistorischen Entwicklungen der Ausstellungspraxis entscheidend war. Duchamp schuf durch Inszenierung und Multiplikation seiner und anderer Werke neue konzeptionelle Ansätze, die eine Wende in der zeitgenössischen Kunst markierten. Die Prinzipien der Ausstellungspraxis wurden zu entscheidenden Faktoren der Werkkonstitution. Der Band versammelt die Beiträge eines Symposiums der Daimler Art Collection und enthält acht Essays, die die vielfältigen kuratorischen Gesten Duchamps analysieren.