Observers of contemporary art associate the name Julian Schnabel with highly evocative, large-scale paintings. At the time of his early exhibitions in the U.S. and Europe in the 80s, the larger-than-life Schnabel was loudly hailed as a new milestone in the development of painting, the savior of an art form declared dead years before. Still painting some of the most massive canvases around, Schnabel is a virtually unrivalled master in the use of "bigness" and a broad range of materials. Fragmentation and overlapping play an important role in his art, in terms of both material and content. If his paintings don't exhibit a consistent style, why should they? Instead, they combine oil painting and collage techniques, classical pictorial elements inspired by historical art, Neo-Expressionist features, as well as figuration and abstraction, gesture and structure. This volume presents a broad selection of Schnabel's paintings in a survey of his diverse oeuvre, with emphasis placed on works from 1990 to the present.

Julian Schnabel: Malerei/Paintings 1978-2003

Arts & Photography

Hollein, Max

Fleck, Robert

Pfeiffer, Ingrid

Individual Artists

Hatje Cantz Publishers

"Beautiful as the chance meeting of a sewing machine and an umbrella on a dissecting table" is the most famous formulation of the Surrealist effect, penned by the Comte de Lautréamont in the 1860s and adopted as a rallying cry by André Breton at the inception of the Surrealist movement. Lautréamont's vivid simile lent itself both to poetry and to visual art, and the Surrealist artists were quick to grasp that an entirely new kind of sculpture could be made from such potent combinations of commonplace objects. Duchamp's Dada-era objects, Freud's theories of the fetish, the "uncanny" and sexual symbolism and the popularity in Europe of African votive objects supplied further stimulus, and soon Breton, Man Ray, Salvador Dalí and even Picasso had populated this infant genre with a whole slew of disquieting (and sometimes fun) inventions--May Ray's 1920 "Cadeau" (a clothes iron with tacks attached) and Dalí's 1936 lobster telephone are two instantly recognizable examples. Younger recruits to the Surrealist cause, such as Hans Bellmer, Isamu Noguchi and Meret Oppenheim developed the possibilities of the genre even further, and Oppenheim's 1936 "Fur Cup" must be today the supreme instance of the Surrealist object. Surreal Objects is the first publication to exclusively address the Surrealist object. Surveying works by over 50 artists and writers--among them such familiar names as Breton, Dalí, Duchamp, Magritte, Man Ray and Picasso, and less-known artists such as Antoni Clavé, Leo Dohmen, Wilhelm Freddie and Conroy Maddox--it provides a definitive treatment of one of Surrealism's most characteristic yet neglected themes.

Surreal Objects: Sculptures and Objects from Dalí to Man Ray

MADELINE, Laurence

Lampe, Angela

Reference

Hatje Cantz

<p>This companion volume to a major exhibition of the work of Laszlo Moholy-Nagy highlights the extraordinary range of his prolific career. Throughout his career Moholy-Nagy produced brilliant works in painting, film, photography, sculpture, set design and typography. A leading proponent of the Bauhaus School, he strove to apply artistic principles to every aspect of daily life. This companion volume to a retrospective features 170 works from all phases of Moholy-Nagy's career. Essays on his involvement with the Bauhaus School; his late paintings; his photographs, photograms, and photosculptures; and his accomplishments in the field of graphic art are complemented by numerous color illustrations. The book also documents the reconstruction of a never completed work, The Room of Today, which incorporates the most important themes Moholy-Nagy brought to his art. Readers viewing his work for the first time, along with those already possessing a deep appreciation for his art, will celebrate this long-overdue volume.</p>

Laszlo Moholy-Nagy

Prestel

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Books by Pfeiffer, Ingrid