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.

The uncommonly rich paintings and watercolors of Berlin-based Uwe Kowski (born in 1963 in Leipzig) walk a fine line between abstraction and representation. They are delicate, complex compositions whose layers of paint can hide written words or any of many art-historical references, from the Impressionists to Jasper Johns.

With the complex installation From Sebastian to Olivia, Brazilian artist Ernesto Neto presents an artistic vision of organic relations. As the title suggests, this is a world of compressed spaces, originating from the knowledge that two people can share a room and still be cut off from one another by its architecture--unable to come into contact or communicate. Structurally, the work illustrates the isolation and loneliness of two spheres, male and female, while indicating that contact could become possible. "I am sculpture and think as sculpture," says Neto, describing his perception that sculpture is a living organism and knows no bounds. In addition to subtle lighting direction and the use of scents, the artist employs stairways, a viewing platform, a swing, stools, free-standing sculptural works, spice drawings and wall sculpture to demonstrate this blurring of boundaries. Here, spatial and sensual layers are linked to recreate a world of organic membranes.

For his installation Terminus, the British artist Darren Almond relocates 14 socialist-era bus stops from the Polish town of Oswiecim to a gallery space in Berlin, activating a force field between the Auschwitz concentration camp, everyday life in Oswiecim and the way we experience historical proximity or distance. As Julian Heynen writes in his analysis of Terminus: "What we see with our own eyes of the reality of Oswiecim, the bus shelters, is only a temporary stop on a hypothetical journey to the 'real' place, the camp. In this waiting room the direction of the next step is shown, even as doubt is cast on the chances of us satisfying our desire for authenticity." Mark Godfrey (Abstraction and the Holocaust) discusses the work's genesis and context in a conversation with Almond, while Charity Scribner (Requiem for Communism) introduces her personal experiences from Poland. An extensive photographic record draws together the many aspects of this installation, summarizing them in photo essays.

As Tunga reveals in conversation with Beverly Adams, a performance to him is an opportunity to explore an installation piece. In 2006, he installed Laminated Souls--a "hyper-symmetrical" laboratory, in which systemization and metamorphosis interlock--in three rooms at the Botanical Gardens in Rio de Janeiro, and there he realized a performance with two scientists, flies, frogs and a host of performers. The artist went on to create related sculptures and exhibited the original installation at New York's P.S.1 in 2007. This volume traces the evolution of Laminated Souls in detail, and by juxtaposing research and result, it gets under the skin of this work complex.

This is the first comprehensive monograph on the young Brazilian artist Marepe, who lives and works in Santo Antônio de Jesus in Bahia Province in northwestern Brazil. The cosmos of this location--Marepe's birthplace--provides the stimuli for his art. His works, exhibited worldwide at Biennale festivals and museums such as London's Tate Modern or Paris' Centre Pompidou, evolve from the region's history, the daily lives of its people and the creativity that helps them to survive. As Jens Hoffmann writes in his essay: "Marepe's world is fairly unique and his works of art are not just objects representing an idea or concept, they are witnesses of his life and the condensation of his experiences and his dreams. His interpretation of his surroundings is rendered into multifaceted, poetic and frequently beautiful works of art, which speak profoundly about some of the most relevant and even existential questions of our lives." Adriano Pedrosa analyzes the transformative impact of placing rows of water filters or replica market stalls in an art context. Statements, notes and poetry from the artist himself shed further light on the background of his pieces.

A young boy and a dwarf give this book its title, but at first glance, it's hard to make out anything like them in Arturo Herrera's collages. Only a closer look will reveal the telling details in the work's rich texture: the bellows of an accordion, a dwarf's cap. Are these pictures representational or abstract? According to Herrera, "The challenge is, how can an image so recognizable, like a dwarf, have another meaning that I impose on it? Is it possible? Can I make something so clear ambiguous? Can I uproot it?" He can: The ambiguity of his collages slows down the gaze so that the figurative and the abstract cease to be simple opposites. And the repeated motif gives the eye free rein to study the method and virtuosity of Herrera's take on abstraction. This recent series of 74 large-format collage works on paper is based on two comic figures: an old dwarf and a young boy who plays accordion. The "front views" come from a children's coloring book, and Herrera commissioned an illustrator to draw "back views" of the figures. These are blown up, colored in and then layered with complex collage structures until the images almost disappear beneath the vivid surface abstraction.

The years 1993 and 1994 were bum years for Richard Phillips. Creative years too, since that was when he made the 30-odd drawings in this portfolio. With the air so cold and the heat not working and the rent going unpaid for eight months, Phillips, drawing in his kitchen, conjured one image after another: a homeless man is burned alive by a thug; a deranged blonde cuddles with a white rabbit, certain they must be sisters; a monumental god carved into a temple at Angkor Wat mirrors the face of Alice Cooper--two gods in one! Phillips' sources were discarded newspapers, but if you look behind the mottled surfaces the pictures really derive from the conflicted state of his soul. Each of these drawings is a complete work; none were intended only as studies. "They were meant to be entertaining," Phillips tells author Linda Yablonsky, "but they also pushed me to go farther and farther." Ultimately, these drawings gave Phillips the freedom to paint. What they give us is the power to see through the dark.

"Through sheer compulsiveness, the book sharply elucidates the now considerable arc of Wool's engagement with photography for its own sake and for catalyzing the rest of his work." -Randy Kennedy, New York TimesIn the photographs that make up Bad Rabbit, Christopher Wool (born 1955) works with pieces of fencing wire that he found on the roads and littered backyards of Marfa, Texas. Their shapes reminded him of his own drawing line, and so he explored their sculptural qualities in a series of starkly black-and-white, digitally treated prints. For his sculptural practice, the artist enlarges the wire maquettes and casts them in bronze and steel; in the photo works collected here, the found object becomes a subject of observation, its sculptural form created in its framing and in the subsequent treatment of the images. This is the fifth artist's book in a series by Wool from the same publisher, which has become an important part of the artist's practice. The book comes in an edition of 1,200, each copy signed by the artist.

Glenn Brown's swirling, grotesque figures emerge from uncanny manipulations of old and new mastersIn this volume, British artist Glenn Brown (born 1966) presents a selection of recent works across painting, drawing and sculpture. Brown's work disarms common distinctions between beauty and abjection: he takes the protagonists of his paintings from old and new masters such as Raphael, Boucher, Delacroix or Baselitz, whose figures he alienates, mutilates, digitally manipulates and covers with seething color gradients and bands of swirling color.In Brown's drawings, the bodies and faces intertwine, bound together by looping lines, leaving the viewer with the uncanny impression of a "schizophrenic self," as the artist notes. In his sculptures, color grows into space: brushstrokes flee the plane into a third dimension, threatening to smother the antique bronze figurines they grow from. Conceptually distinct from appropriation art, Brown's artistic process demonstrates where his focus essentially lies; not in the base image, but rather in the possibilities that derive from it.

New paintings exploring the extreme hybridization of global cultureLos Angeles and Seoul-based artist Cody Choi (born 1961) responds to the global collision of cultures. Pitting Rococo against traditional Chinese sources in his paintings, adding a riff on Rodin's Thinker and a youthful dance performance in calibrated spotlights, his work achieves cultural hybridity.

ìDeep in the heart of my loneliness, I think of the art of my lioness.î German Fluxus artist Dieter Rothís enigmatic (and sometimes singsong) mail art for his lover, the artist Dorothy Iannone, was matched only by her responses and the sexually loaded non-mailable art she made featuring the two of them. Roth and Iannone met in 1967, broke up in 1974, and remained friends and lively correspondents until Rothís death. He painted over and dimmed the subjects of postcard photos to make himself the central figure; she needed no prompting to cast him in a starring role in her autobiographically based oeuvre. From ìmy dear old baby, will you please bring this check to the bank so we have some money when I come back, î to ìremember me?î they were a fascinating couple; now readers can encounter that passion themselves.