New York, autunno 1978. Giovedì sera, alle otto spaccate, Robert Mapplethorpe, elegante e sfrontato nella sua giacca di pelle nera, scende le scale e fa il suo ingresso nella sala principale del famigerato Mineshaft, il brulicante club sotterraneo per soli uomini tempio e ricettacolo di ogni forma di perversione. È il decennio famelico e scintillante dell’emancipazione gay: arte e sesso sono legati a doppio filo e il pronostico warholiano sui quindici minuti di celebrità è un imperativo esistenziale. Mapplethorpe, il fotografo scandaloso e provocatorio per eccellenza, brandisce la sua Hasselblad come fosse un revolver e mira dritto al lato oscuro di quegli anni, di cui è insieme testimone e protagonista: nudi statuari o corpi fasciati in latex e corde, scene leather e pratiche feticiste, fino agli autoritratti luciferini. Un “fuorilegge” venuto dall’Inferno, che ha preso d’assalto i dogmi della società americana ed è diventato, nonostante i tentativi di censura, uno tra gli artisti più acclamati del Ventesimo secolo dopo la sua morte per AIDS nel 1989. Questa di Jack Fritscher – amante e compagno di Mapplethorpe alla fine degli anni settanta e direttore della prima rivista che pubblicò le sue controverse immagini – non è una biografia in senso stretto: è il ritratto di un’epoca dal cuore selvaggio, raccontata nei suoi estremi e bizzarrie attraverso una scrittura sincopata, ironica, fatta di dialoghi fulminei e ritratti allucinati.

“This publication will provide an overview of the most extensive collection of primary material existing on Robert Mapplethorpe’s entire practice, including the work he produced before turning to photography. This volume will focus on examples of etchings, drawings, collages, paintings, sculpture, commercial work, personal collections, as well as intimate dialogues among friends, colleagues, and business associates. In addition, the book will provide insight into Mapplethorpe’s identity as a gay man and the ways his art pushed against the limits of censorship and conformity. This publication is intended to be a ‘signal contribution to our understanding of one of the key figures in late-twentieth-century photography and cultural politics.'”–Publisher’s description.

An entirely new interpretation of modern American portraiture based on the history of sexual difference.

Hide/Seek: Difference and Desire in American Portraiture, companion volume to an exhibition of the same name at the National Portrait Gallery, Smithsonian Institution, traces the defining presence of same-sex desire in American portraiture through a seductive selection of more than 140 full-color illustrations, drawings, and portraits from leading American artists. Arcing from the turn of the twentieth century, through the emergence of the modern gay liberation movement in 1969, the tragedies of the AIDS epidemic, and to the present, Hide/Seek openly considers what has long been suppressed or tacitly ignored, even by the most progressive sectors of our society: the influence of gay and lesbian artists in creating American modernism.

Hide/Seek shows how questions of gender and sexual identity dramatically shaped the artistic practices of influential American artists such as Thomas Eakins, Romaine Brooks, Marsden Hartley, Georgia O’Keeffe, Charles Demuth, Jasper Johns, Robert Rauschenberg, Andrew Wyeth, Andy Warhol, Robert Mapplethorpe, and many more—in addition to artists of more recent works such as Felix Gonzalez-Torres, Glenn Ligon, Catherine Opie, and Cass Bird. The authors argue that despite the late-nineteenth-century definition and legal codification of the “homosexual,” in reality, questions of sexuality always remained fluid and continually redefined by artists concerned with the act of portrayal. In particular, gay and lesbian artists—of but not fully in the society they portrayed—occupied a position of influential marginality, from which vantage point they crafted innovative and revolutionary ways of painting portraits. Their resistance to society’s attempt to proscribe them forced them to develop new visual vocabularies by which to code, disguise, and thereby express their subjects’ identities—and also their own.

Bringing together for the first time new scholarship in the history of American sexuality and new research in American portraiture, Hide/Seek charts the heretofore hidden impact of gay and lesbian artists on American art and portraiture and creates the basis for the necessary reassessment of the careers of major American artists—both gay and straight—as well as of portraiture itself.

Christophe von Hohenberg stumbled upon the beginnings of Andy Warhol’s Memorial Service at St. Patrick’s Cathedral on April 1, 1987. Now published for the first time on the eve of the 20th anniversary of the Pop legend’s death, von Hohenberg’s lens captured a veritable time capsule of the social swirl of the era that Warhol had such a hand in shaping.

Andy Warhol was the centrifuge of an artistic and social set that remixed the cocktail of café society to include everything from porn stars and princes, pop music stars and international society figures, movie stars and drag queens, and the dynamic cast of dozens of the eras major figures (many now deceased) that attended the memorial service of April 1, 1987. In addition to speakers Yoko Ono and Picasso biographer John Richardson, attendants included such major artists as David Hockney, Roy Lichtenstein, Keith Haring, Robert Mapplethorpe, Francesco Clemente and Julian Schnabel. Other personalities included Debbie Harry, Diane von Furstenberg, Bianca Jagger, Halston, Liza Minnelli, Paloma Picasso, George Plimpton, Ahmet Ertegun, Dominick Dunne, Henry Geldzahler, Claus von Bulow, Leo Castelli, Holly Solomon, Steven Sprouse and many others. The book is a vibrant record of one of the most exciting eras in New York’s cultural life from the swinging sixties through the increasingly edgy 1970s and up to the heady 1980s that was started in the haze of Studio 54 and ended with the ravages of AIDS. Andy Warhol: The Day The Factory Died is a fitting tribute to the Pop master whose seemingly soulless art was frequently tinged with the pathos of death.

What if an ordinary little coloring book were to be upgraded with a set of 54 energetic line drawings by some of today’s best-known contemporary artists instead of the usual dumbed-down pedagogical renderings? And what if the proceeds from the sale of this high-art coloring book were to go to a worthy charitable organization that seeks to install upbeat, original contemporary artworks in participating hospitals? Well, then you would have Between the Lines, this lively new collection of work by Vito Acconci, Rita Ackermann, John Baldessari, Jeremy Blake, Will Cotton, R. Crumb, Keith Haring, Sol LeWitt, Robert Longo, John Lurie, Robert Mapplethorpe, Jason Middlebrook, Julian Opie, Laura Owens, Alexis Rockman, Kenny Scharf, William Wegman and John Wesley, among others. And what if this same coloring book were to include four vibrant pages of original stickers by Assume Vivid Astro Focus and Ryan McGinness? Well, then you would have a collector’s item. RxArtis a not-for-profit organization that curates contemporary art installations in hospitals and outpatient centers. The organization’s goal is to create more energetic and therapeutic environments for patients, staff and visitors engaged in the act of healing. RxArt donates coloring books to children in participating healthcare facilities; like the installed artworks, the coloring books are meant to give children and their families something new and stimulating to think about under sometimes quite trying circumstances.

In chess, when a pawn reaches the eighth square on the far side of the board, the player can swap it for a piece from his opponent’s set. So the pawn–a lowly foot soldier–can transform into a queen, the least powerful figure can transform into the epitome of power, and a man can become a woman–just like that. Issues of sexuality are playing out around us all the time, quaking and transmuting under the surface of every family exchange and embedded in all of our popular media images. This scholarly and yet still erotic compendium examines, through works by more than 70 artists, historical and social developments in human sexuality, taking on all facets of drag, gender, queerness and transsexuality. Artists include Diane Arbus, Francis Bacon, Matthew Barney, Louise Bourgeois, Nan Goldin, Felix Gonzalez-Torres, David Hockney, Jasper Johns, Robert Mapplethorpe, Tracey Moffatt, Bruce Nauman, Robert Rauschenberg and Cindy Sherman.

The first exhibition to consider a recent history of artists’ representations of other artists, whether peers, colleagues, or idols. Surveying a loose network of artists primarily active in Berlin, London, Los Angeles, and New York, both exhibition and catalog explore a variety of approaches to portraiture, examining how artists have questioned, and reimagined, what exactly constitutes a portrait. Featured Artists Matthew Antezzo, Roy Arden, David Armstrong, AA Bronson, Edgar Bryan, Heather Cantrell, Chuck Close, Anne Collier, Tacita Dean, Sam Durant, Nan Goldin, Felix Gonzalez-Torres, Richard Hamilton, Peter Hujar, Deborah Kass, Mike Kelley, Richard Kern, Bruce La Bruce, Sean Landers, Robert Mapplethorpe, Jonathan Meese, Richard Misrach, Dave Muller, Paul Noble, Julian Opie, Elizabeth Peyton, Sigmar Polke, Richard Prince, David Robbins, Wolfgang Tillmans, James Welling, Neil Winokur

Edward Steichen was a visionary determined to show that photography was an art form as well as a craft, which explains the painterly style characterizing his early images. His portraits resonate with echoes of Whistler and Sargent; like Whistler, he used terms such as pastorale and nocturne as titles for his landscapes to suggest their affinity with music. His experiments with color images of flowers, dating as early as 1907, look back to the paintings of Fantin-Latour yet anticipate Robert Mapplethorpe. He explored photography’s potential to immortalize the chance play of shadows on flat surfaces and the unexpected beauty of decayed plants. Beyond his artistic eye, Steichen’s sensitivity and daring were evident in the international photographic exhibition The Family of Man that he organized for the Museum of Modern Art in 1955. The text of Steichen’s Legacy is written by the photographer’s widow, Joanna, who met Steichen when he was 80 and she was 28. Though her intensely personal recollections are a unique window on Steichen’s life and an excellent source of anecdote, they form an uneasy mix of art history and biography–the loving memories of one so intimate with Steichen do not form the most solid base for analyzing his work. Her choice of images, however, and the book’s rich visual presentation make it a magnificent tribute to one of photography’s great interpreters and innovators. His legacy is well served by the 300 high-quality duotones, tritones, and full-color images that illustrate this substantial volume, printed in Italy on fine art paper and a tour de force of book production. –John Stevenson

Life is Paradise gathers for the first time a mostly private collection of contemporary artist Francesco Clementes rarely seen oil, pastel, and watercolor portraits of personalities from the worlds of pop culture, high society, and art. The revealing depictions of friends and acquaintances who have passed through Clemente’s studio include the likes of Lauren Hutton, Henry Geldzhaler, Toni Morrison, Bryan Ferry, Robert Mapplethorpe, William Burroughs, Fab 5 Freddy, Robert DeNiro, Fran Lebowitz, Gus Van Sant, Edit De Ak, John Ashbery, Andy Warhol, the Baronesa Francesca Thyssen-Bornemisza, Enzo Cucchi, Christy Turlington, Rene Ricard, Gwyneth Paltrow, Allen Ginsberg, Keith Haring, Jean-Michel Basquiat, Michael McClure and many, many more.
Interspersed amongst this ravishing collection of surprising portraits are several of Clementes more well known self-portraits, in various mediums, which have become signature pieces for the artist. But its the compelling portraitures of a widely divergent circle–artists, writers, film actors, fashion industry icons, business and society headliners, done by Clemente for amusement or for special commissions–that offer a fascinating insight into another side of Francesco Clemente: the internationally famous artist who for years has been a fixture on the New York scene.

For almost two decades, Clemente has divided his time between New York, Italy, and Madras, India, and his art readily acknowledges the influence of these cultures. Clemente is widely considered one of the foremost contemporary artists in America, and his work is celebrated in art collections all over the world. The portraits in Life is Paradise span Clementes entire career as a visual artist, and showcase his versatility with various mediums. This collection gathers together and examines for the first time in detail a little known element of Clemente’s oeuvre.

While nude women are a staple of commercial and art photography, the photographed male nude is often the target of censorship but seldom the subject of serious critical discussion. This is the first study to examine the unique interrelation between social perceptions of the nude and the medium of photography. Melody Davis focuses on the work of six artists whose photography confronts societal prohibitions. In order to understand the taboo and silence which surrounds this subject, she addresses the many social and cultural fears that inhibit the presentation and discussion of photographed male nudity. Because she deals with distinctions between the nude and the naked, the interrelational and the pornographic, the book has close connections with current debates about the impact of images and the limits of public tolerance of images of ‘deviance’.Through the photographs of Robert Mapplethorpe, Lucas Samaras, John Coplans, George Dureau, Joel-Peter Witkin, and a film by Dusan Makavejev, the author examines how the action ideal for the male body is challenged by an artistic medium in which man becomes the spectacle, not the spectator. By presenting three of photography’s genres self-portraiture, portraits of others, and allegorical nudes Davis is able to reveal the critical and theoretical issues which shape our understanding of photographed nudity, and, by extension, representations of gender.

Films with cross-dressed protagonists and advertisements featuring androgynous adolescents are just some of the evidence of our contemporary fascination with gender and sexuality. Rrose is a Rrose is a Rrose provides an art-historical perspective on photography that explores and plays with this controversial, sexy subject. The title of this book combines Gertrude Stein’s famous line, “Rose is a rose is a rose is a rose”, with the name of Surrealist artist Marcel Duchamp’s feminine alter ego, Rrose Selavy, pronounced “Eros, c’est la vie”, or “Eros, that’s life”. The reproductions include photographically based artworks made between 1920 and 1940 by Cecil Beaton, Brassai, Duchamp, Hannah Hoch, George Platt Lynes, and Man Ray, among others. Also featured are photographs from the past 25 years by such artists as Janine Antoni, Matthew Barney, Nan Goldin, Jurgen Klauke, Robert Mapplethorpe, Annette Messager, Lucas Samaras, Cindy Sherman, and Andy Warhol.

On the Museum’s Ruins presents Douglas Crimp’s criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists—Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe—but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin.

Black Male is the catalog for what was a major and somewhat controversial exhibition at the Whitney Museum of American Art. In her introductory essay, curator Golden explains that she used “five historic signposts” to guide her study of the evolution of images of African American men in the years following the civil rights movement. The first was the aggressive and rampantly sexual look of the black power era, followed by blaxploitation films, the tragic “endangered” status of black men in America, the rise of rap and hip-hop, and the “video-imaging” of such high-profile tragedies as the Rodney King incident, the Clarence Thomas hearings, Magic Johnson’s AIDS confession, and O. J. Simpson’s arrest and indictment. Golden and her contributors, including Henry Louis Gates Jr., Ed Guerrero, Bell Hooks, and Andrew Ross, discuss the irony and danger of stereotypes; the implications of various perceptions of black masculinity; black men in films; and iconographic public figures from Malcolm X to Michael Jordan. The artworks themselves include paintings, photographs, sculptures, and movie stills by such artists as Jean-Michel Basquiat, Leon Golub, Spike Lee, Robert Mapplethorpe, Gordon Parks, Alison Saar, and Lorna Simpson. While this catalog is long on commentary and short on art, it is, without a doubt, stimulating and important.

La straordinaria collezione di libri con fotografie di nudo, raccolta da Alessandro Bertolotti nel corso di 30 anni permette di esplorare la tematica del nudo fotografico spaziando dai primi cliché accademici fino alle immagini delle avanguardie più audaci. Sviluppata in maniera cronologica e tematica, quest’opera presenta più di 180 volumi, alcuni celebri e altri poco conosciuti, che hanno fatto la storia della fotografia del nudo: Germaine Krull, Man Ray, Hans Bellmer, Bill Brandt, Araki, Robert Mapplethorpe, Pierre Molinier, Jan Saudek, Jeanloup Sieff… Raggruppati in dodici temi diversi, i singoli libri sono presentati con la propria copertina e con molti spettacolari esempi di pagine interne. Con quasi 500 riproduzioni, Nudo è un’opera di riferimento per tutti gli amanti della fotografia e per tutti gli appassionati di grafica e di editoria.

The Unseen Eyepresents a wonderfully idiosyncratic and compelling collection of photographs assembled around a particular theme: in each image, the gaze of the subject is averted, the face obscured or the eyes firmly closed. The pictures present a catalog of anti-portraiture, characterized at first glance by what its subjects conceal, not by what the camera reveals. Amassed over the course of 30 years by New York collector W.M. Hunt, the collection includes works by masters such as Richard Avedon, Diane Arbus, Imogen Cunningham, William Klein, Robert Mapplethorpe and Robert Frank, as well as works by lesser-known artists and vernacular images. Hunt’s instinctive pursuit of striking images has resulted in a collection that manages to evoke a picture of humanity from birth to death, with all the associated nuances of memory, wit, eroticism, fear, grief and horror. More than 350 intensely evocative and frequently surreal images are brilliantly sequenced in this volume; the cumulative effect is unnerving and riveting. Most critically, the images are drawn together by the narrative of the collector himself, in a highly personal monologue that weaves throughout the book, in which Hunt offers his own perceptive responses to the images he has gathered over many years. The result is a series of surprising epiphanies about how and why one collects.

Before she was a world-renowned singer-songwriter and dubbed “The Godmother of Punk,” Patti Smith was a struggling poet posing for the lens of photographer Judy Linn. In intimate portraits of an artist as a young woman, Linn captures Smith at her most vulnerable, as a raw performer on the verge of becoming an iconic artist. Linn’s photographs offer a fascinating document of Smith’s maturation into one of the most influential women of her generation while also spotlighting her close relationships with other artists, including Robert Mapplethorpe and Sam Shepard. This book captures a moment lost in time, when a poet experimenting with music crossed paths with a young artist experimenting with photography. A must-have for anyone interested in the evolution of an artist, Patti Smith 1969-1976 showcases the collaboration between Smith and Linn that rewrote the definition of what it means to be a woman and an artist.

Since the rise of the photographic medium in the late 19th century, people have been fascinated by the camera’s ability to record striking moments both public and private. From Mathew Brady’s haunting images of the Civil War to the present day paparazzi’s brand of voyeurism-for-hire, photography has long served to capture not only the posed portrait but also the personal, the intimate, the unexpected, and the taboo. This fascinating book examines the ways in which acts of voyeurism and surveillance have inspired, challenged, and expanded the medium of photography throughout its evolution. Featuring photography by Sophie Calle, Henri Cartier-Bresson, Walker Evans, Harun Farocki, Nan Goldin, Robert Mapplethorpe, Helmut Newton, Andy Warhol, and Weegee, among others, Exposed chronicles the artistic, political, and even moral dilemmas that underlie some of these artists’ best known works. Through insightful essays and commentary by Sandra Phillips, one of the foremost authorities on the history of 20th-century photography, Exposed examines some of the most invasive and unsettling aspects of photography, including the use of the hidden camera, the production of erotic pictures and pornography, and the intersection of photography with both celebrity and violence.

Gerard Malanga has been acclaimed as a poet, photographer, and filmmaker. Resistance to Memory is a compilation of his photographic portraits taken during the 1970s, many never before published. Included are remarkable photographs of the legendary cultural, artistic, literary, and musical personalities of our time, including: Robert Mapplethorpe, Jasper Johns, George Plimpton, Lou Reed, Patti Smith, Abbie Hoffman, Nico, Candy Darling, Allen Ginsberg, Lawrence Durrell, Roman Polanski, William Burroughs, and many more. Many of these people were and are friends of Malanga, and as a result the portraits display an unparalleled intimacy. Malangas keen photographic eye and acute sensibility come alive in a style that is revealing, and never artificial. The book features texts by Thurston Moore, a founding member of the band Sonic Youth, and the late Ben Maddow, one of the great visual critics of twentieth century film and photography.

High Tails is an eclectic volume of photography celebrating horses and commemorating Capricious’ tenth anniversary in publishing and supporting emerging and underrepresented artists . High Tails is a 250+ page book of photography-including iconic images of horses throughout the 20th century alongside work from contemporary and emerging photographers. Featuring the work of over 80 artists including Dorothea Lange, Robert Mapplethorpe, Nan Goldin, Helmut Newton, Richard Prince, Viviane Sassen, Petra Collins, Collier Schorr and Ryan McGinley.

Born in Amsterdam in 1957, Ari Marcopoulos came to New York in 1979 and quickly became part of a downtown art scene that included Jean-Michel Basquiat, Keith Haring and Robert Mapplethorpe. Since then, Marcopoulos has become recognized as a leading documentarian of contemporary culture, having chronicled the emerging hip hop scene, shot snowboarders in action and revealed the vicissitudes of his family life. Marcopoulos always appears to have forged a strong connection with the people he photographs, whether celebrated figures-from Andy Warhol to Kiki Smith, John Cage to LL Cool J-or more obscure personalities, so that he captures, without sentimentality or voyeurism, the intimate sensation of their daily lives. His images are particular to a time and place, but reach out to us via familiar themes such as family and the longing for adventure. The first retrospective on Marcopoulos, Within Arm’s Reachcollects work from three decades, and is supplemented with an essay by Stephanie Cannizzo.

This brief yet immensely compelling catalogue brings together works by Larry Clark, Nan Goldin, Robert Mapplethorpe, and others, revealing highly individualistic conceptions of sexuality and nudity.

Band 1: malerei, plastik, performance.- Band 2: fotografie film video.- Band 3: handzeichnungen, utopisches design, bücher.- Artsts: Berenice Abbott, Hermann Albert, Carl Andre, Ben d’Armagnac, Christian Ludwig Attersee, Vito Acconci, Pierre Alechinsky, Theo Angelopoulos, Arman (Armand Fernandez), Bernhard Aubertin, Valerio Adami, Gerhard Altenbourg, Ottomar Anschütz, Fernando Arrabal, Joannis Avramidis, Robert Adamson, Robert Altman, Horst Antes, Eduardo Arroyo, Alice Aycock, Peter Ackermann, Anatol, Ant Farm, Art & Language, Billy Adler, Gisela Andersch, Shusaku Arakawa, David Askevold, Chantal Akerman, Laurie Anderson, Diane Arbus, Eugène Atget, Francis Bacon, Monika Baumgartl, Joseph Beuys, Fernando Botero, Kevin Brownlow & Andrew Mollo, Michael Badura, Hippolyte Bayard, Michael von Biel, Margaret Bourke-White, Günter Brus, Eduard Denis Baldús, Thomas Bayrle, Werner Bischof, Mathew B. Brady, Anatol Brosilowsky, Balthus, Cecil Beaton, Louis-Auguste Bisson & Auguste-Rosalie Bisson, Brassaï (Gyula Halász), Wojciech Bruszewski, Joachim Bandau, Bernd e Hilla Becher, Irma Blanck, George Brecht, Luis Buñuel, Jared Bark, Stephan Beck, Karl Blossfeldt, KP Brehmer, Chris Burden, Robert Barry, Bill Beckley, Bernhard Blume, George Hendrik Breitner, Daniel Buren, Jennifer Bartlett, John Ernest Joseph Bellocq, Mel Bochner, Heinz Breloh, Scott Burton, Gianfranco Baruchello, Carmelo Bene, Peter Bogdanovich, Robert Bresson, Michael Buthe, Giorgio Batistella, Franz Bernhard, Claus Böhmler, Stuart Brisley, James Lee Byars, Gerd Baukhage, Jean-Marie Bertholin, Blythe Bohnen, Jürgen Brodwolf, Horst H. Baumann, Nuccio Bertone, Karl Bohrmann, Marcel Broodthaers, Bodo Baumgarten, Jean-Louis Bertucelli, Christian Boltanski, Stanley Brouwn, Enzo Cacciola, Robert Capa, Barbara Chase-Riboud, Pinchas Cohen-Gan, Michael Craig-Martin, Julia Margaret Cameron, Henri Cartier-Bresson, Eduardo Chillida, James Collins, Fritz Cremer, Colin Campell, Étienne Carjat, Christo, Miguel Condé, José Luis Cuevas, Peter Campus, Ugo Carrega, Chryssa, Tony Conrad, Edward Curtis, Louis Cane, Lewis Carroll, Chuck Close, Steven Cortright, Veassis Caniaris, Claude Chabrol, Harold Cohen, Claudio Costa, Miodrag Djuric (Dado), Douglas Davis, Walter De Maria, Jim Dine, Juan Downey, Louis Daguerre, Ger Dekkers, Agnes Denes, Henry + Bool Alfred + John Dixon, Peter Downsborough, Hanne Darboven, Willem de Kooning, Fred Deux, Dore O., Michael Druks, Alan Davie, Philip Henry Delamotte, Jan Dibbets, Ugo Dossi, Marcel Duchamp, John Davies, Jack Delano, Braco Dimitrijevic, Christian Dotremont, David Douglas Duncan, Don Eddy, Paul Eliasberg, Heinz Emigholz, Ulrich Erben, Walker Evans, Benni Efrat, Ger van Elk, Ed Emshwiller, Hugo Erfurth, Valie Export, Sergej Eisenstein, Peter Henry Emerson, Leo Erb, Garth Evans, Öyvind Fahlström, Federico Fellini, Dan Flavin, Charles Frazier, Lee Friedlander, Herbert Falken, Roger Fenton, Richard Fleischer, Hermine Freed, Hamish Fulton, Ralston Farina, Armand Fernandez, Lucio Fontana, Will Frenken, Heidi Fasnacht, Vincenzo Ferrari, Fred Forest, Achim Freyer, Rainer Werner Fassbinder, Robert Filliou, Terry Fox, Gisèle Freund, Hans-Peter Feldmann, Wolfgang Gäfgen, Jochen Gerz, Tina Girouard, Dan Graham, Nancy Graves, Abel Gance, Paul-Armand Gette, Michael Gitlin, Eve Gramatzki, Alan Green, Alexander Gardner, Peter Gidal, Wilhelm von Gloeden, Tom J. Gramse, Marty Greenbaum, Winfred Gaul, Wolfram Giersbach, Jean-Luc Godard, Gotthard Graubner, Alberto Grifi, Rupprecht Geiger, Gilbert & George, Hubertus Gojowczyk, Nancy Graves, Robert Grosvenor, Michael Geissler, Frank Gilette, Kuno Gonschior, Walter Grasskamp, Hetum Gruber, Arnold Genthe, Raimund Girke, Camille Graeser, Gotthard Graubner, Renato Guttuso, Roel D’Haese, Haus-Rucker-Co, Wilhelm Hein, Lewis Hine, Nan Hoover, Helfried Hagenberg, Erich Hauser, Bernhard Heisig, Leon Hirszman, Rebecca Horn, David Hall, Lady Hawarden, Michael Heizer, Antonius Höckelmann, Horst P. Horst, Nigel Hall, Ron Hays, Al Held, David Hockney, George Hoyningen-Huene, Phillipe Halsman, Tim Head, Werner Herzog, Anatol Herzfeld, Alfred Hofkunst, Richard Hamilton, Erwin Heerich, Eva Hesse, Rudolf Hoflehner, Douglas Huebler, Heijo Hangen, Axel Heibel, David Octavius Hill, Edgar Hofschen, Danièle Huillet, Noriyuki Haraguchi, Birgit Hein, John Hilliard, Hans Hollein, Alfonso Hüppi, Karl Horst Hödicke, Shohei Imamura, Will Insley, Jean Ipoustéguy, Patrick Ireland, Hans Paul Isenrath, Ken Jacobs, Paul Jaray, Jasper Johns, Francis Benjamin Johnston, Miklós Jancsó, Jo Jastram, J. Douglas Johnson, Donald Judd, Horst Janssen, Alejandro Jodorowsky, Joan Jonas, Martha Jungwirth, Wolf Kahlen, Buster Keaton, Jürgen Klauke, Beril Korot, Ferdinand Kriwet, Max Kaminski, Ellsworth Kelly, Alexander Kluge, Joseph Kosuth, Germaine Krull, Howard Kanovitz, Michael Kenny, Werner Knaupp, Jannis Kounellis, Shigeko Kubota, Tadeusz Kantor, André Kertész, Günther Knipp, Andras Kovács, Stanley Kubrick, Allan Kaprow, Anselm Kiefer, Milan Knížák, Attila Kovács, Gary Kuehn, Dani Karavan, Harry Kipper, Imi Knoebel, Kurt Kren, Marin Karmitz, Alain Kirili, Alice Kochs, Dieter Krieg, Gertrude Kasebier, Ronald B. Kitaj, Christof Kohlhöfer, Richard Kriesche, On Kawara, Konrad Klapheck, Jiří Kolář, Les Krims, Willem de Kooning, László Lakner, Barry Le Va, Michael Leisgen, Lawrence Lobe, Urs Lüthi, Arthur Lamothe, Russell Lee, Les Levine, Francisco Lopez, Georg Platt Lynes, Richard Landry, Jean Le Gac, Sol LeWitt, Antonio Lopez-Garcia, Nikolaus Lang, Gustave Le Gray, Roy Lichtenstein, Joseph Losey, Dorothea Lange, Malcolm Le Grice, Richard Lindner, Bernhard Luginbühl, John Latham, Barbara Leisgen, Michael Lingner, Bernhard Lüthi, Heinz Mack, Kenneth Martin, Gerhard Merz, Alexander Mitta, Robert Morris, Nino Malfatti, Charles Marville, Mario Merz, Milan Mölzer, Alfons Maria Mucha, Felix H. Man (Hans Baumann), Roberto Matta, Borg Mesch, Bernard Moninot, Ugo Mulas, Robert Mangold, Gordon Matta-Clark, Anette Messager, Henry Moore, Antoni Muntadas, Andy Mann, Wolfgang Mattheuer, Adolphe de Meyer, Stefan Moore, Walter Murch, Werner Mantz, Cynthia Lee Maughan, Duane Michals, Carmengloria Morales, J.-J. Murphy, Piero Manzoni, Antony McCall, Henri Michaux, Marcello Morandini, Zoran Mušič, Giacomo Manzù, Barry McCallion, Rune Mields, Pit Morell, Eadweard Muybridge, Robert Mapplethorpe, Bruce McLean, Antoni Miralda, François Morellet, Brice Marden, Syd Mead, Josef Mikl, Maria Moreno, Agnes Martin, Dariush Mehrjui, Joan Miró, Malcolm Morley, Tomitaro Nachi, Bruce Nauman, Wolfgang Nestler, Joseph Nicéphore Niépce, Maria Nordman, Félix Nadar, Charles Nègre, Richard Newton, Ansgar Nierhoff, Gabriele & Helmut Nothhelfer, Maurizio Nannucci, Werner Nekes, Max Neuhaus, Richard Nonas, Lev V. Nussberg, Dore O., Timothy O’Sullivan, Roman Opalka, Nagisa Oshima, Oswald Oberhuber, Claes Oldenburg, Dennis Oppenheim, Jean Otth, Brian O’Doherty, Claudio Olivieri, Anna Oppermann, Hilmar Pabel, Giulio Paolini, A. R. Penck, Pablo Picasso, Lucio Pozzi, Nam June Paik, Eduardo Paolozzi, Peng-Wan-Ts, Otto Piene, Heinz-Günter Prager, Blinky Palermo, Gordon Parks, Beverly Pepper, Walter Pichler, Mario Prassinos, Magnus Palsson, Sergei Paradschanow, Elio Petri, Anne & Patrick Poirier, Panamarenko, Pier Paolo Pasolini, Wolfgang Petrick, Sigmar Polke, Gina Pane, Max Peintner, Friederike Pezold, Don Potts, Isabel Quintanilla, Daniel Quintero, William Raban, John Reilly, Jacob August Riis, Peter Roehr, Ed Ruscha, David Rabinowitch, James Reineking, Bridget Riley, Ulrike Rosenbach, Ken Russell, Arnulf Rainer, Albert Renger-Patzsch, Klaus Rinke, James Rosenquist, Claude Rutault, Yvonne Rainer, Jean Renoir, Larry Rivers, Francesco Rosi, Reiner Ruthenbeck, Robert Rauschenberg, Alain Resnais, Jacques Rivette, Roberto Rossellini, Robert Ryman, Man Ray, Erich Reusch, Józef Robakowski, Dieter Roth, Éric Rohmer, Tony Ray-Jones, Hans Peter Reuter, Dorothea Rockburne, Arthur Rothstein, Martial Raysse, George Warren Rickey, Alexander Rodtschenko, Gerhard Rühm, Reindeer Werk, Hans Salentin, Tomas Schmit, Eugen Schönebeck, Michael Singer, Edward Steichen, Sohrab Shadid Saless, Wolfgang Schmitz, Martin Schwarz (Künstler), Willi Sitte, Saul Steinberg, Erich Salomon, Helmut Schober, Martin Scorsese, Neal Slavin, Frank Stella, Lucas Samaras, Eugen Schönebeck, George Segal, David Smith, Alfred Stieglitz, Fred Sandback, Ben Schonzeit, Antonio Seguí, Robert Smithson, Sir Benjamin Stone, August Sander, Rudolf Schoofs, Friedrich Seidenstücker, Fernando Ezequiel Solanas, Paul Strand, Sarkis Zabunyan, Jan Schoonhoven, Richard Serra, Michael Snow, Jean-Marie Straub, Antonio Saura, Werner Schroeter, Ben Shahn, Alan Sonfist, Liselotte Strelow, Konrad Balder Schäuffelen, Heinz Schubert, Joel Shapiro, Eve Sonneman, Michell Stuart, Georgij Schengalaja, Alf Schuler, Charles Sheeler, Keith Sonnier, Josef Sudek, Alexander Schleber, HA Schult, Stephen Shore, Daniel Spoerri, István Szábo, Barbara Schmidt-Heins, Bernard Schultze, Katharina Sieverding, Klaus Staeck, Gabriele Schmidt-Heins, Emil Schumacher, Charles Simonds, Ted Stamm, Jiro Takamatsu, Andrej Tarkowskij, George Trakas, Peter Tuma, Vassilakis Takis, André Thomkins, François Truffaut, Deborah Turbeville, William Henry Fox Talbot, Jean Tinguely, Costas Tsoclis, Richard Tuttle, Antoni Tàpies, Gérard Titus-Carmel, Werner Tübke, Cy Twombly,Günther Uecker, Lee U Fan, Timm Ulrichs, Ursula Schultze-Bluhm, Giuliano Vangi, Wladimir Veličkovič, Bill Viola, Klaus Vogelsang, Hannsjörg Voth, Agnès Varda, Bernard Venet, Luchino Visconti, Wolf Vostell, Andrzej Wajda, Weegee, Orson Welles, Gottfried Wiegand, Claus Peter Wittig, Willie Walker, William Wegman, Wim Wenders, Klaus Wildenhahn, Krzysztof Wodiczko, Franz Erhard Walther, Peter Weibel, Lina Wertmüller, Dorothee von Windheim, Erwin Wortelkamp, Andy Warhol, Lawrence Weiner, Dsiga Wertow, Gerd Winner, Fritz Wotruba, Ryszard Wasko, Roger Welch, Marthe Wéry, Reindert Wepko van de Wint, Klaus Wyborny, Wolfgang Weber, Peter Weller, Tom Wesselmann, Rainer Wittenborn, Keigo Yamamoto, Yves Yerson, Yoshio Yoshida, Frank Young, Herbert Zangs, Gianfranco Zappettini, Jerry Zeniuk, Heinrich Zille, Krzysztof Zanussi, Michele Zaza, Christian Ziewer, Zush

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