<p>As treasure troves of creativity, the homes of artists reflect the intellectual worlds of their creators. Starting with the Villa Stuck in Munich--the aesthetic, conceptual cosmos and life’s work of the aristocratic artist Franz von Stuck--this unique volume integrates the artist’s house as a category into the international discourse and is the first to assign these buildings the status of major works. About 20 examples bring to life the fascination that these artistic fantasies hold for art lovers, including both existing projects and some which, although they have been lost, were of unique importance in their day and still retain their charisma. Along with paintings, sculptures and photographs, plans and models convey the interrelationship between art and life as well as the harmony of the arts expressed by Richard Wagner’s historical concept of the total work of art. Among the houses featured are Sir John Soane’s Museum, London; William Morris’s Red House, Bexleyheath; Louis Comfort Tiffany’s Tiffany House, New York City; Mortimer Menpes’ flat, London; the Fernand Khnopff Villa, Brussels; Jacques Majorelle’s villa and garden, Marrakesh; Kurt Schwitters’ Merzbau, Hanover; and Max Ernst’s house, Arizona.</p>

In the Temple of the Self: The Artist's Residence as a Total Work of Art

Arts & Photography

Cooney, Alice

Derenthal, Ludger

Ottomeyer, Hans

Architecture

Hatje Cantz

<p><div>How photographs became art. <i>Paragons & Afterimages</i>:&nbsp;the pair of terms refers to correlations between images, but also to their production, where reference is made to already existing images. In the art academies and schools of applied arts in the 19th and early 20th century, photographs served as "models" or "paragons," and served as their individual didactic type of image. Photographic reference material was an important aid in the creative practice of aspiring artists; and in the course of their use, "afterimages" were created in art classes, including: paintings, sculptures, drawings, and graphics. The archives of the Berlin University of the Arts have preserved a unique and valuable photographic teaching collection that dates back to the 1850s and had already been created at the predecessor institutions, the Berlin Art Academy, and the leading School of Decorative Arts. With approximately 25,000 individual photographic prints, and additional bundles and albums, this collection is unique in Germany. Hardly noticed for a long time, it has in recent years been archivally and scientifically reviewed. This collection is presented for the first time in this book and with the exhibition organized by the Münchner Stadtmuseum.&nbsp;</div></p>

Paragons Afterimages: Photographs from the Berlin University of the Arts, 1850–1930

Lowis, Kristina

Faber, Monika

Kalcher, Antje

Locher, Hubert

Photography & Video

Snoeck Publishing Company

<p>Claudia Fä hrenkemper (b. Castrop-Rauxel, 1959; lives in Steinheim/Westfalen) photographs enormous as well as minuscule objects using scanning electron microscopes to produce images that are as fascinating as they are disconcerting. The play with extreme scales yields fantastic visual worlds: American desert and canyon landscapes, the giant industrial machinery of open-pit mines in Germany, insects, plant seeds, crystals, and plankton, plus historic armaments from Europe and Japan. The lavishly designed book is the first to gather works from her entire oeuvre, which now spans four decades. Surveying the most important of Fä hrenkemper' s conceptual series, it reveals unexpected interconnections between disparate motifs on vastly different scales from nature, technology, science, and cultural history.Claudia Fä hrenkemper studied at Fachhochschule Kö ln, today' s Cologne University of Applied Sciences, where Arno Jansen was her teacher, and with Bernd and Hilla Becher and Nan Hoover at the Dü sseldorf Academy of Fine Arts. Her photographs are held by numerous museum collections, including at the Kunstmuseum Bonn, the National Gallery of Canada, and the Margulies Collection, Miami.</p>

Claudia Fährenkemper: Kontextforschung / context research 1980–2022

Mangelsdorff, Patrick

Evers, Ulrika

Lesniewska, Martyna

Individual Artists

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