Bøger udgivet af Holzwarth Publications

Katharina Grosse bemalt den Raum direkt, indem sie Farben auf Wände, Böden, ganze Häuser und die Materialarrangements aufträgt, die sie in Ausstellungen integriert. In einer Serie von 15 großformatigen Atelierbildern aus den Jahren 2022/2023, in der Galerie Max Hetzler in Berlin gezeigt und in diesem Buch vorgestellt, sind ihre chromatischen Schleifen und Bündel von wirbelnden Farblinien Ausschnitte aus einer größeren Bewegung, die dank der zum Malen verwendeten Sprühpistole über die körperliche Reichweite der Künstlerin hinausreicht. "Meine Arbeit hat viel mit der Entstehung einer physischen Wirkung zu tun", sagt Grosse. "Die volle Wirkung entsteht aus der Körpermitte heraus und endet beinah in einem Angriff , den ich dann in ein farbenfrohes Ereignis verwandle." Die Formen wiederholen sich und variieren und werden manchmal durch Schatten von Ästen unterbrochen - im ästhetischen Angriff der Bilder fi nden sich viele Feinheiten. Die großformatigen Werkabbildungen im Buch wechseln sich mit Detail- und Installationsaufnahmen, in welchen sich die unmittelbare Erfahrung sowie die konzeptionelle Neukonfi guration der malerischen Geste in Grosses Werk mitteilen.In Zusammenarbeit mit Galerie Max Hetzler Berlin | Paris | London

This new artist's book is comprised of photographs Christopher Wool (born 1955) made between 2008 and 2017 in the surroundings of Marfa in West Texas, where Wool spends part of his time.These are pictures of found situations, rendered serendipitous by the power of the artist's photographic vision: pictures of backyard debris and improvised storage solutions, stray animals and strange constructions that once must have made sense but now appear undecipherable. Things set adrift and excerpts from the landscape that appear almost like sculpture for the split second of the open lens. Christopher Wool: Westtexaspsychosculpture is published in an edition of 1,200 copies, signed by the artist.

Road is the second of two new artist's books from Christopher Wool (born 1955).It collects photographs taken by the artist between 2015 and 2017--dust roads, gravel roads, roads partly overgrown or full of tire tracks, roads through desert and fields of rocks, through sparse woods and along precipices. Wool's roads are not purposeful trajectories toward destinations but the roads of perpetual, endless motion for motion's sake. In Wool's black-and-white photographs, only seldom does a fork in the road offer the viewer an apparent choice of which way to go. And though each photograph comes from a different location, the place changing from one shot to the next, it still feels like one long road traveled under the clear light of the sun. Christopher Wool: Road is available in a limited edition of 1,200 copies, all signed by the artist.

Zhang Wei (born 1952), a founder member of the legendary No Name Group, has long been internationally regarded as one of the most important Chinese painters. This volume showcases a series of new abstractions and reaches back over a long career to paintings on paper made in Beijing parks in the 1970s.

This volume presents the recent ceramic work of American sculptor Liz Larner (born 1960) in light of the artist's broader conceptual and material development.As Peter Pakesch writes in his essay, "ceramic in Larner's hands becomes a special combination of painting and sculpture, embodying the qualities of both worlds."

Swiss artist Eric Hattan (born 1955) engages with the everyday through interventions that may present furniture on the ceiling, displaced street lamps in gallery spaces or videos of the artist turning packaging inside out. This book surveys his complete work with hundreds of installation images and video stills.

This survey of recent work by British artist John Hilliard (born 1945) examines his conceptual approach to photography. Hilliard utilizes every means--double exposure, multiple perspectives, blow-ups, cutouts and superimpositions--to explore what an image can tell us about the world and where the medium determines the meaning.

This publication presents the work of German sculptor Inge Mahn (born 1943). The former Beuys student refashions and alienates everyday objects such as doghouses, bird boxes, classroom furniture, steeples and chimneys in white plaster and other everyday materials, exploring the tension between the public and the private.

A founding member of the Nouveau Realisme group, French artist Raymond Hains (1926-2005) was a perpetually restless innovator. In the 1940s he experimented with photograms and optical distortion; in the 1950s, he took torn posters from billboards and reprised them as paintings, pioneering an abstract realism, while also collaborating with the Lettrists; in 1960 he cofounded Nouveau Realisme alongside Klein, Spoerri, Tinguely and others, transposing construction hoardings into the gallery space and continuing his affichiste activities. In the '70s Hains worked with suitcases and narrative photographs; in his final phase, he devised his "macintoshages," collages of pop-up windows grabbed from a computer screen, and developed neon sculptures after the Borromean knots of Jacques Lacan. This book--the first comprehensive Hains monograph, created in collaboration with the artist's estate--follows his 60-year career, elaborating its context and references.

This volume documents a focused group of paintings from 2014-15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.

This book documents the exhibition ESP, by Texas- and New York-based painter Jeff Elrod (born 1966), collecting images of the paintings as they were hung on the wall in an oversize portfolio format that offers ample details.

On a trip to Italy in 1828, German painter Carl Blechen (1798-1840) captured his surroundings in hundreds of exquisite drawings and oil sketches. In Landscapes, British artist Darren Almond (born 1971) traces Blechen's path by photographing the same landscapes and juxtaposing his photos with the older artist's sketches.

This catalogue accompanies a vast survey of the work of Mona Hatoum (born 1952) at Kunst-haus St.Gallen in Switzerland. The pieces range from the artist's body-centered early performances of the 1980s, through large sculptures of threatening household objects, to more recent, politically charged installations.

This book presents a recent series of large-format collage paintings by German artist Albert Oehlen (born 1954), utilizing cheerily cheap advertising posters. The compositions reveal themselves as interiors only on second gaze: edges of walls and floors, the elegant curve of a designer chair.

In All Things Pass, London-based artist Darren Almond (born 1971) explores the passage of time, juxtaposing a six-channel video installation filmed on the steps of Chand Baori, a spectacular ninth-century well in India, with number paintings, sculptures of stacked timepieces, and photos of a strangely modernist Neolithic stone circle.

This publication focuses on a series of painted bronzes by British sculptor Rebecca Warren (born 1965). Her thin and knobbly figures, which knowingly reference canonical artists such as Giacometti, Rodin and de Kooning, are here given the deluxe treatment with work portraits from all four angles and installation-view foldouts.

This volume collects 17 new collage series by Venezuelan artist Arturo Herrera (born 1959)--works pitched somewhere between abstract composition and poetically fragmented scrapbooks of the everyday. As the artist writes: "Collage is our portrait of life rearranged and reordered."

British painter Glenn Brown's fourth exhibition at Galerie Max Hetzler in Berlin took place at the gallery's temporary space: a small, well-lit apartment in the Charlottenburg district. This superbly produced, oversized publication records both the works and their intimate installation with extraordinary gatefolds that scrutinize the sensuous surfaces of Brown's paintings and sculptures. Full of technical virtuosity and grotesque exaggeration, these works based on reproductions of historical art include a traditional flower painting mutated into bouquets of orifices; a portrait of an old man in sickly colors; fragmented female torsos; and sculptures smothered in thick chunks of oil paint. The extraordinary tension between relish and repulsion achieved by the sculptures can provoke extreme reactions of delight or fascination, as this volume reveals.