This collection of paintings, sculptures and collaborations including stage sets for a production of Frank Castorf’s Kokain is the first comprehensive survey of Meese’s major incursions into the German art scene. The artist was born in Tokyo, lives in Berlin and has shown at the Tate Modern.

Paul Thek occupied a place between high art and low art, between the epic and the everyday. During his brief life (1933-1988), he went against the grain of art world trends, humanizing the institutional spaces of art with the force of his humor, spirituality, and character. Twenty years after Thek’s death from AIDS, we can now recognize his influence on contemporary artists ranging from Vito Acconci and Bruce Nauman to Matthew Barney, Mike Kelley, and Paul McCarthy, as well as Kai Althoff, Jonathan Meese, and Thomas Hirschhorn. This book brings together more than 300 of Thek’s works–many of which are published here for the first time–to offer the most comprehensive display of his work yet seen. The book, which accompanies an exhibition at ZKM ? Museum of Contemporary Art presenting Thek’s work in dialogue with contemporary art by young artists, includes painting, sculpture, drawing, and installation work, as well as photographs documenting the room-size environments into which Thek incorporated elements from art, literature, theater, and religion. These works chart Thek’s journey from legendary outsider to foundational figure in contemporary art. In their antiheroic diversity, Thek’s works embody the art revolution of the 1960s; indeed, Susan Sontag dedicated her classic Against Interpretation to him. Thek’s treatment of the body in such works as “Technological Reliquaries,” with their castings and replicas of human body parts, tissue, and bones, both evoke the aura of Christian relics and anticipate the work of Damien Hirst. The book, with more than 500 images (300 in color) and nineteen essays by art historians, curators, collectors, and artists, investigates Thek’s work on its own terms, and as a starting point for understanding the work of the many younger artists Thek has influenced.Essays byJean-Christophe Ammann, Margrit Brehm, Bazon Brock, Suzanne Delehanty, Harald Falckenberg, Marietta Franke, Stefan Germer, Kim Gordon, Roland Groenenboom, Axel Heil, Gregor Jansen, Mike Kelley, John Miller, Susanne Neubauer, Kenny Schachter, Harald Szeemann, Annette Tietenberg, Peter Weibel, Ann Wilson

Miroslav Tich, born in a small Czech village in 1926, was a trained artist with a background in painting and drawing and a 30-year career as photographer (specializing in unauthorized, low-grade pictures of local women–on the streets or in the pool–made with jury-rigged cameras of his own design) when he abruptly ended his artistic production in 1990. Since then, he has avoided the public eye and generally refused to sell his artworks. In this volume, more than 30 contemporary artists contribute works in response to Tich 's: among them we find photographs of alpine snowboarders by Walter Niedermayr, an erotic drawing by Arnulf Rainer, an enigmatic sculptural work and a drawing of a gallerist standing on an artist's head by Erwin Wurm, a hand-drawn score by Michael Nyman, collaged works by Jonathan Meese, a large round acrylic painting by Katharina Grosse, a Surrealistic photo series by Anna and Bernhard Blume, a kittenish diptych by Fischli and Weiss and sundry dark and mysterious works by Thomas Ruff, Andro Wekua and others. The original Tich images featured here are gorgeous, enigmatic and erotic, and are accompanied by portraits of the artist and his fascinating DIY cameras.

From Albrecht Fuchs’ magnetic portraits of Sarah Lucas, Raymond Pettibon, Jonathan Meese, Mark Leckey and other international art stars to Wiebke Loeper’s strangely moving and often desolate landscapes to Matthias Koch’s deadpan images of grounded submarines, government ministries and disused military bunkers, this collection highlights 10 new positions in German photography today, as noted by the internationally renowned curator and photo expert Thomas Weski. While for many years the German photography scene was dominated by Bernd Becher’s first generation of students at the famous Art Academy Dusseldorf, more recently, a vivid, heterogeneous scene has developed outside of any particular region or style. With generous selections of work by Fuchs, Loeper, Koch, Laurenz Berges, Karin Geiger, Claus Goedicke, Uschi Huber, Nicola Meitzner, Peter Piller and Heidi Specker, as well as a short interview with and bio for each artist, Presentation/Representation confidently introduces the next generation to watch.

The arts have changed since 1885, and Les Grands Spectacles sets out to document this evolution in three phases. Starting with the invention of film and the standardisation of the bourgeois theatre-house in the late 19th century, the book then focuses on the modernisation and dissemination of the mass media after World War Two, and finally arrives at the situation of art at the beginning of the new millennium, where events cultivate a theatrical quality, and the individual’s every intimate impulse can become entertainment for the masses. Les Grands Spectacles also shows what effects these changes have had on art or have been spurred by art, and how the social significance of the sensational, the tragic or the deceptive has been understood in art and the material of the spectacle explored, extended, hijacked, altered or destroyed in artworks. Artists in the exhibition include Vito Acconci, John Baldessari, Matthew Barney, Vanessa Beecroft, Maurizio Cattelan, Jake & Dinos Chapman, Marcel Duchamp, Marlene Dumas, Sylvie Fleury, Nan Goldin, Dan Graham, Richard Hamilton, Damien Hirst, Candida Höfer, Martin Kippenberger, Yves Klein, Gustav Kluge, Jeff Koons, Yayoi Kusama, El Lissitzky, Robert Longo, Paul McCarthy + Jason Rhoades, Jonathan Meese, Laszlo Moholy-Nagy, Otto Mühl, Takashi Murakami, Dennis Oppenheim, Raymond Pettibon, Pablo Picasso, Richard Prince, Mimmo Rotella, Dieter Roth, Ed Ruscha, Jean Tinguely, Cindy Sherman, Joel Sternfeld, Hiroshi Sugimoto, Nicola Tyson, Dziga Vertov, Catherine Wagner, Andy Warhol, Franz West, and many, many others. Essays by Magrit Brehm, Roberto Ohrt and Klaus Theweleit.

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

Die vorliegende Veröffentlichung erweitert diese theologische Fragestellung auf die zeitgenössische Kunst und deren Verarbeitung von Problemen der Gegenwart: Es werden Werke internationaler Künstler zusammengeführt, die sich in ihrer Arbeit mit existenziellen Aspekten des Lebens befassen. Zugleich wird nach den in der Kunst heute noch anwesenden Bildern der alt- und neutestamentarischen Überlieferung gesucht. Die ausgewählten Kunstwerke spüren das Religiöse im Säkularen und das Säkulare im Religiösen auf. In ihnen entwirft der Mensch Bilder von sich selbst in seiner körperlichen und geistigen Existenz. In miteinander verknüpften ikonografischen Linien führt die Publikation Entwürfe von Menschen, ihren Orten und Zeichen zusammen, die ihrerseits spirituelle Fragen stellen. In einführenden Essays werden die künstlerischen und die theologischen Aspekte des Themas erörtert. Hinzu kommen Texte zu den ausgestellten Werken sowie Selbstzeugnisse der beteiligten Künstler. Die Künstler: Dennis Adams, Pawel Althamer,Samuel Beckett, Joseph Beuys, Louise Bourgeois, Sophie Calle, Peter Campus, John Coplans, Hartwig Ebersbach, Jochen Gerz, Roni Horn, Thomas Huber, Martin Kippenberger, Harald Klingelhöller, Willem de Kooning, Maria Lassnig, Via Lewandowsky, Jonathan Meese, Boris Michailow,Juan Muñoz,Bruce Nauman, Gerhard Richter, Anri Sala, Thomas Schütte, Florian Slotawa, Kiki Smith,Robert Smithson, Thomas Struth, Hiroshi Sugimoto, Fiona Tan, Wolfgang Tillmans/Isa Genzken, Patrick Tosani, Mark Wallinger, Andy Warhol, Remy Zaugg

The exhibition deutschemalereizweitausenddrei (german painting two thousand and three) is a response to the needs and social circumstances that have given rise to painting’s present (return to) popularity, and to the strategies young artists are developing to meet this. The focus is on individual approaches that seem symptomatic at present insofar as they strive to occupy up-to-date positions, adopting diverse strategies to integrate painting’s historical potential for critique and reflection. With a cover design by artist Liam Gillick, a text by Ingo Niermann and numerous color reproductions, the catalogue documents over fifty current positions of predominantly younger German, or in Germany living, artists. Included are works by Tomma Abts, Kai Althoff, Monika Baer, Dirk Bell, Thomas Eggerer, Christian Flamm, Katharina Grosse, Eberhard Havekost, Sergej Jensen, Johannes Kahrs, Jutta Koether, Hendrik Krawen, Antje Majewski, Jonathan Meese, Stefan Müller, Frank Nitsche, Silke Otto-Knapp, Anselm Reyle, Thomas Scheibitz, Johannes Wohnseifer, Katharina Wulff, Amelie von Wulffen, et al.

German artist Andrea Stappert (born 1958) has made a life’s work of documenting the art world’s most interesting personalities. Originally trained as a painter, her first photographs were of fellow artist and friend Martin Kippenberger. Those portraits appear here alongside those of Peter Doig, Lawrence Wiener, Pipilotti Rist, Rikrit Tirvanija, Jonathan Meese and many others.

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