The Art of Tomorrow presents an international selection of seventyseven young artists, with four pages dedicated to each, who show great potential for the future. They were selected by three insiders from the art world: Laura Hoptman is a curator in the department of Painting and Sculpture at the Museum of Modern Art in New York; Yilmaz Dziewior is the director of the Kunsthaus Bregenz and a member of the acquisitions committee of the collection of contemporary art of the Federal Republic of Germany; Uta Grosenick has edited numerous anthologies on contemporary art. The book is intended for an audience that wants to know today what will be happening in tomorrow’s art scene. It is thus an indispensable compendium for collectors and curators, for art students and others interested in art. Designers, graphic designers, fashion designers, and advertising agencies all derive ideas and inspiration from the visual arts. With its selection of artists, the book posits clear worldwide trends; its distinguished and futuristic design make the book a musthave.

The Art of Tomorrow (German and English Edition)

Arts & Photography

Yilmaz Dziewior

History & Criticism

DISTANZ

A collection of remarkable paintings created mostly without paint. Since the mid1990s, Sergej Jensen (b. in Copenhagen in 1971) has been offering one of the most remarkable responses to the question of what painting can still be today. Painting in the classical sense plays only a minor role: in lieu of canvas, Jensen uses jute, coarse cotton, and jeans. He incorporates spots on fabrics, which turn the expressive gesture of his paintings into a sign of wear from real life. Jensen sews fabrics together, leaving the seams visible to evoke the fleeting impression of a drawing and he colors others with gouache, acrylics, and markers, but Jensen more often applies materials foreign to painting, such as patches, paper money, spices, beads, and glitter. Hanging his fabrics from windows, Jensen lets the sun and rain contribute a patina and treats them with chlorine and paints mixed with bleach to reduce their brilliance.

Sergej Jensen

Peter Eleey

Heidi Zuckerman Jacobson

Helmut Draxler

Jacob Fabricius

Rainald Goetz

Dirk von Lowtzow

Melanie Ohnemus

Susanne Pfeffer

Michel Majerus died at the young age of thirty-five, and yet this visual artist (1967-2002) has left a multifaceted and extensive oeuvre. His contribution to an expansion of the medium of painting has informed an entire generation of contemporary painters. In his pictures and installations, Michel Majerus explored all formats, from the smallest to the overwhelmingly large. On the level of content, he quotes from comics, media, advertising, and time and again also from an art-historical repertoire ranging from Minimal to Pop Art. The exhibition at the Kunstmuseum Stuttgart is accompanied by a catalog that outlines the various phases of his artistic development, embeds Majerus's oeuvre in a larger art-historical context, and analyzes his art against the backdrop of a global flood of images. Numerous installation shots convey an impression of Majerus's large-format works and space installations. With essays by Nicolas Bourriaud, Heike Föll, Ulrike Groos, Joseph Kosuth, Charlotte Laubard, and Stephan Schmidt-Wulffen.

Michel Majerus (English and French Edition)

Majerus, Michel

Individual Artists

Privacy―today, that sometimes feels like a word from a different era. It seems hardly applicable at a time when people post everything on Facebook, from their current relationship status down to intimate pictures. Exhibitionism and voyeurism are the social strategies of our lives. Today’s art uses photographs, Polaroids, cell phone pictures, films, objects, and installations to focus on domestic scenes and personal secrets. In the present book and the exhibition of the same title at the Schirn Kunsthalle, Frankfurt, numerous contemporary artists explore the evanescence of the private sphere and the resulting “public intimacy”: Ai Weiwei / Merry Alpern / Michel Auder / Evan Baden / Richard Billingham / Mike Bouchet / Stan Brakhage / Sophie Calle / Tracey Emin / Hans-Peter Feldmann / Nan Goldin / Christian Jankowski / Birgit Jürgenssen / Edgar Leciejewski / Leigh Ledare / Leo Gabin / Christian Marclay / Ryan McGinley / Jenny Michel and Michael Hoepfel / Marilyn Minter / Gabriel de la Mora / Mark Morrisroe / Laurel Nakadate / Peter Piller / Martha Rosler / Jörg Sasse / Dash Snow / Fiona Tan / Mark Wallinger / Andy Warhol / Michael Wolf / Kohei Yoshiyuki / Akram Zaatari

Privat

Collections, Catalogs & Exhibitions

Miriam Böhm (born 1972, lives and works in Berlin) arranges, layers, and shoots mounted prints that produce a series of disorienting shifts. Her photographs contain pictures within pictures, upsetting relationships between figure and ground, real and reproduced. Operating under an internal logic of repositioning and flipping, her carefully constructed images force the viewer into a different kind of looking in an attempt to pin down the image, one that regards each layer of the photograph as a physical entity. A close search for clues within and among pictures becomes an attempt to ground oneself within the work. The viewer’s relationship to the original image is similarly altered, as any reference it may carry is caught up in Böhm‘s formal plays. Her source material feels deceptively offhand, ranging from fauxpainted marble textures to rows of trees, wrapped pictures and packing materials, and office supply sets. But these common materials, and the drab fabric she often employs as a background, achieve an unexpected aesthetic dynamism under her formal operations. Within the series, it is the basic elements of pictorial illusion themselves and how we read them photographically that are set in tension. Printing and reprinting, for Böhm, are not only central to her process but written into the image, enacting and revealing a physical relationship with photography. First book on the artist with a text by Matthew Thompson.

Miriam Böhm (English and German Edition)

The thrill of speed, the aesthetic quality of destruction, and the fascination of overcoming physical limitations: these are the central themes in the art of Dirk Skreber (b. Lubeck 1961; lives and works in New York), which shows the strong influence of media images the artist isolates in exaggerated renditions, as though trying to exorcise their power to shock. Keeping dynamism and static structure in precarious balance, the works lift the beholder from his own reality and involve him in the scenario. Skreber paints landscapes in large formats as well as semiabstract figures; he makes fearsome sculptures out of cars that were used in crash tests and creates giant installations that take up entire rooms. The artist has also increasingly used film as a medium to stage the theme of the catastrophe in new ways. He slows down a car accident that, in reality, takes 3.19 seconds to thirty minutes to make it look like a supernova. With essays by Joachim Bessing, Will Heinrich, Dirk Skreber, and Christian Wassmann.

Dirk Skreber (English and German Edition)

Florian Baudrexel

"Klara Hobza (b. Plzeň, 1975; lives in Berlin) creates longterm art projects that often test the limits of possibility. Yet the GermanCzech artist always tackles the apparent lack of a solution to the problems she has set herself with a strong will, planning and implementing her schemes step by step and shunning neither danger nor confrontation. Setbacks are no less part of her work than successes, which she documents in writings, photographs, drawings, objects, or films. The publication "Early Endeavors" vividly illustrates the tenacity and obsessiveness with which Klara Hobza pursues her ideas, be it the several years she spent trying to establish contact with the residents of New York using Morse signals or the repatriation of sixty starlings that were brought to the US from England in the nineteenth century. Launched in 2010, her most recent project, titled Diving through Europe, would seem a gigantic undertaking: the artist plans to cross Europe―underwater. Leg by leg, she dives through the rivers connecting the North Sea to the Black Sea. A positively boundless endeavor, whose realization is scheduled to take between twentyfive and thirty years and is nonetheless propelled by the artist’s determination to reach the Black Sea. "Early Endeavors" surveys the most groups of works by Klara Hobza, illustrating the artist’s preparations, plans, and reflections and documenting the implementation or partial implementation of her actions. Contributions by Stefanie Böttcher, Georg Elben, and Gregory Volk complement the artist’s own writings."

Klara Hobza (English and German Edition)

"German artist Martin Kippenberger died in 1997 (b. Dortmund 1953). His work has been internationally celebrated since his death and now occupies a solid place in the most important art collections and museums in the world. Now as then, the question as to the value of his work triggers lively debate: praised as the Beuys of the 1980s, the German Warhol or Picabia’s successor, he is equally well known as a dilettante and genius, enfant terrible and provocateur, relentless networker and visionary. Largely ignored by the art market for decades, he strove for recognition, which he initially received from only a small circle. For Kippenberger, who was merciless in his criticism, there was no joke too personal or too close to the bone, no provocation too injurious in testing how far he could go, not only with his opponent, but also with himself. The professional selfpublicist understood like no other before him in Germany how to make a show out of his art and his life, always doing so in a way that simultaneously pushed back the boundaries of art itself. Once the ball was rolling, it was not allowed to stop. Kippenberger spared neither himself nor others and his short but intense life and extremely diverse corpus of work are a testament of this. The interview book ""Kippenberger &amp; Friends"" comes closer to uncovering Kippenberger the myth, through 25 conversations with artists, curators, gallerists, and friends. And it is predominantly the latter who give us their view on someone who left a lasting impression on them, in descriptions that are contemplative, funny, critical, and also selfironic. The extremely personal memories bring to life not only Kippenberger himself; they also create a dense picture of the cultural life in a Germany which, torn between the sensationalist Springer press and student revolts, the hedonistic consumer culture of yuppies and the provocative rebellion of the punk scene, still had to become convinced of the maxims of its own actions. Josephine von Perfall started her doctorate degree on Martin Kippenberger in 2010 at the Department of History of Art at the University of Cambridge. The role he played in the development of postwar German art, in particular in his capacity as a "networker," cannot, von Perfall asserts, be overestimated, and it is this role that is the key to understanding one of the most important chapters in German postwar art."

Kippenberger & Friends (English and German Edition)

Sip! Indonesian Art Today: Seni Rupa Indonesia Kini (English and Indonesian Edition)

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