Bøger udgivet af Louisiana Museum of Modern Art

A multipronged analysis of the Dominican American artist's cartographic palimpsestsIn her monumental paintings and installations, the Dominican American artist Firelei Báez (born 1981) creates images bursting with symbols from folktales, colonial occupation, legendary creatures and revolutions. She paints images on top of maps, book pages and found ephemera that combine abstraction and figuration, personal perspectives with grand historical narratives and Caribbean mythology with science fiction. This colorful publication serves as an introduction to Báez's work. The artist discusses how she interrogates powerful concepts such as truth and history throughout her practice. Special attention is paid to her "palimpsests," paintings on top of colonial maps or construction plans for colonial architecture, both of which represent the establishment's notion of objectivity. Inspired by Báez's works, poet Warsan Shire and author Katrine Rasmussen Kielsen contribute texts considering the legacy of colonialism.

Punk, humor, poetry and pure rage: the full story of Pussy Riot as told by the group's membersThe Russian art collective and activist group Pussy Riot, formed in Moscow in 2011, is famous for its spontaneous and courageous actions challenging the Russian regime. Edited by Maria (Masha) Alyokhina, member and cofounder of the feminist-activist performance collective, this volume compiles, in chronological order, the last decade-plus of Pussy Riot's happenings in Russia. Recurrent themes in the group's feminist, anti-Putin practice include freedom of expression, human rights, LGBTQ+ rights and the release of political prisoners, while recent actions and works feature anti-war statements and support for Ukraine. Accompanying the eponymous traveling exhibition--the group's largest presentation of work to date and its first-ever museum show--it is bolstered by a vast selection of photos and video stills, as well as personal accounts from the group's members. In addition to documenting the performances themselves, the catalog chronicles the consequences of these nonviolent public actions for those who took part: these include arrests, beatings, imprisonment, poisoning, surveillance and house arrest. In addition to the iconic performances, such as Punk Prayer (2012), the exhibition catalog also documents a wide range of lesser-known actions as well as the escape from Russia of some of Pussy Riot's key members in 2022. Told from the perspective of the Pussy Riot activists themselves, the exhibition and accompanying catalog provide a critical and timely insight into the evolution of Putin's Russia over the past 10 years, including the military invasion of Ukraine.

With a vast selection of works from the last two decades and Polaroids of the artist's studio, this mid-career catalog provides unique perspective on Schutz's oeuvre and methodsDana Schutz is one of the great figurative painters of our time--an eminent storyteller who depicts people in complex and often gigantic compositions. For two decades now, Schutz has distinguished herself with her tremendous narrative power, vigorous sense of color and ability to merge the gruesome, grotesque, absurd and comic.This richly illustrated catalog presents paintings, drawings, prints and sculpture, providing an overview of Schutz's entire career to date. Alongside a thorough analysis of Schutz's work by curator Anaël Pigeat, it presents a studio visit described in detail by art critic (and friend of the artist) Jarrett Earnest, whose text is accompanied by Polaroids of the studio that unfold Schutz's working methods. Also featured is a conversation between curator Anders Kold and the artist, and a poetic essay by award-winning author Lauren Groff.Dana Schutz was born in 1976 in Livonia, Michigan, and received her BFA from the Cleveland Institute of Art, Ohio, and her MFA from Columbia University, New York. She lives and works in Brooklyn, New York. Recent solo museum exhibitions include Dana Schutz: Eating Atom Bombs held at the Transformer Station, Cleveland, Ohio (2018), which debuted a series of paintings by the artist; an exhibition of new work at the Institute of Contemporary Art, Boston (2017); a career survey at the Musée d'art contemporain de Montréal (2015); and a solo exhibition at the Hepworth Wakefield, England (2013), which traveled to the kestnergesellschaft, Hanover, Germany (2014).

An ingenious and collectible book-as-poster documenting Prince's half-century of image appropriationFor aficionados of Richard Prince (born 1949) and of the possibilities of the book form, this unique exhibition catalog is an exclusive three-in-one kind of publication. Designed in the dimensions of a 12-by-12-inch LP record and housed in a plastic sleeve, when unfolded it transforms into a two-sided (one English, one Danish) poster with a richly illustrated collage of works by Prince from across his career (including his famous "rephotographs"), plus two in-depth texts on Prince's oeuvre by the curators Nancy Spector and Anders Kold.A defining figure of the Pictures Generation, Prince is famed for his radical acts of appropriation, which have taken many turns across the course of his five-decade career. His visual world, encapsulated in this innovatively designed volume, offers a remarkably consistent portrait of late 20th-century America.

Today's leading poets and writers--from Anne Carson to Roxane Gay--respond to modern and contemporary masterpiecesIn this book, 26 internationally renowned poets, writers and essayists such as Anne Carson, Richard Ford, Roxane Gay, Colm Toíbín, Eileen Myles, Sjón, Gunnhild Øyehaug, Anne Waldman and Claudia Rankine engage in dialogue with artworks from the collection of the Louisiana Museum of Modern Art by artists as different as Louise Bourgeois, Francis Bacon, Alberto Giacometti, Alicja Kwade, Andy Warhol, Julie Mehretu, Joseph Beuys, Tacita Dean, Yayoi Kusama and Francesca Woodman. The writers deploy their poetic gaze in texts that open our eyes to the works. By way of a wide range of literary genres such as poems, essays, memoir and notes, the contributions to the book demonstrate how differently one can experience art.

Being There presents works by 10 artists who depict human existence in between physical and digital worlds, among them Lizzie Fitch & Ryan Trecartin, Ed Atkins, Ian Cheng, Pamela Rosenkranz, Cécilie B. Evans and Bunny Rogers. Designed to maintain the dimensions of a 16:9 screen, the book includes artist's statements and essays.

A pivotal figure of the Danish postwar avant-garde, Poul Gernes (1925-66) created brightly hued, constructivist-style abstractions both on canvas and in public spaces throughout Denmark. This volume documents his career.

This catalogue focuses on the artist's graphic production from the period after 1982 with works from the UBS Art Collection. Freud's (1922-2011) portraits--often of the same subjects he painted--manage to encompass his own psyche, the models' responses and our own reactions. "My work," he said, "is purely autobiographical. It is about myself and my surroundings." In an etching, the subject is scored into a metal plate covered with a wax mixture, which, after immersion in an acid bath, exposes the scorings, which are left as black lines in the finished print. Readers get even closer access to this involved and nontraditional printmaking process, as the volume is supplemented with ten stages of a print from a private collection in England.

In the fall of 2014 the internationally acclaimed Danish-Icelandic artist Olafur Eliasson (born 1967) showed the major solo exhibition Riverbed at Louisiana Museum of Modern Art in Denmark. The exhibition included a monumental site-specific intervention--a huge landscape of rocks and streaming water--occupying the main part of Louisiana's exhibition space in what was his first solo show in the renowned museum, located on the outskirts of Copenhagen. The installation radically transforms the museum and the visitors' journey through this reconstructed space: it comes to life through the visitors' encounters with one another, extending from inside the museum to the world outside. This book introduces the artist and the ideas behind the exhibition to a broader audience through interviews, dialogues and an introductory essay by Louisiana curator Marie Laurberg. Other contributors include Niels Albertsen, Pireeni Sundaralingam, Timothy Morton, Lone Frank, Andreas Roepstorff, Minik Rosing and the EU commissioner for Climate, Connie Hedegaard.

Arab Contemporary is the second chapter in the Louisiana Museum of Modern Art's Architecture, Culture and Identity series, following 2012's New Nordic, which explores architecture in specific regions. Arab Contemporary attempts to distinguish particular features of architecture that are shared by Arab countries from the Arab Peninsula through Lebanon to Morocco. While these areas are primarily connected via a common language, they further share major elements of visual culture, such as the use of calligraphy in architecture. Ranging over varied architectural works as well as visual arts, this volume showcases architecture by Ateliers Jean Nouvel, X-Architects, Henning Larsen Architects and many others, alongside artwork by Egyptian visual artist Mounir Fatmi, the Saudi artist Ahmed Mater, art historian and graphic artist Bahia Shehab and the Tuareg author Ibrahim al-Koni.

In the years during and just after World War II, the Danish artist Asger Jorn (1914-73) and the American painter Jackson Pollock (1912-56) came to play major roles in the development of a new Abstract Expressionist art. Both drew on Surrealism and Picasso to explore automatism in painting, each breaking through to a unique style around 1943, when Pollock had his first show at Peggy Guggenheim's gallery, and Jorn established the groundwork for working collectively that would lead to the founding of the CoBrA group. In both cases, this led to an incredibly energetic, primitive-seeming painting (although Jorn retained more figurative elements than Pollock). Alongside more than 100 color reproductions, Jorn & Pollock: Revolutionary Roads includes the essays "Image Revolutions - Abstract Expressionism and What Looks Like It in Jorn and Pollock" by Anders Kold; "In the Shadow of Picasso: Asger Jorn and Jackson Pollock" by British art historian Jeremy Lewison; "Sounds in the Grass" by Axel Heil; and "Simpler Evolutions" by Courtney Martin, which discusses the British critic Lawrence Alloway's comparisons of the two artists.

In this book, German art historian Siegfried Gohr surveys selected works from the Louisiana Museum of Modern Art's illustrious collection of German art from 1965-1990. Artists include Dieter Roth, Joseph Beuys, Georg Baselitz, Anselm Kiefer, Gerhard Richter, Sigmar Polke, Arthur Köpcke, Jörg Immendorff and others.

Looming large in the cultural imagination as a wild territory to be conquered and the ultimate perimeter of human power, the seemingly untouched landscape of the Arctic has been an inspiration to artists from the Romantic age to the present. Arctic, published to accompany a major exhibition at the Louisiana Museum of Modern Art in Denmark, brings together a range of artists responding to the terrifying sublime of the Arctic, from Caspar David Friedrich to Sigmar Polke, Sophie Calle, Mark Dion and Joachim Koester. With contributions from geologists, historians, archeaologists and glaciologists, as well as a new essay by Geoff Dyer about the photographs from the nineteenth-century expeditions that provided some of the first glimpses of the region and its inhabitants, this catalogue considers the place of the Arctic in the history and culture of the West at a moment when the region is taking on a new significance as a threatened, vanishing space.

Edward Kienholz's life-size tableau "Five Car Stud" (1969-72) depicts four automobiles and a pickup truck, arranged on a dirt floor in a dark room with their headlights illuminating a shocking scene: a group of white men exacting their gruesome "punishment" on an African American man. "Five Car Stud" is a harsh reminder of a shameful part of our history whose traces still linger. It was seen only in Germany in 1972 and has since remained in storage in Japan for almost 40 years. On the occasion of its first public showing in the United States, this volume examines an extraordinarily powerful artistic statement that has lost none of its potency. The catalogue presents essays by Roberto Ohrt and Thomas McEvilley, as well as an interview with American artist Paul McCarthy.

In her form-conscious video installations and photo works, South African artist Candice Breitz deploys stereotypes and visual conventions of popular culture as vehicles for closer examinations of relationships between the collective and the individual. Here, Breitz delves into identifications of modern fan culture--and a new art of portraiture. This volume contains five mini-posters.

Edited by Michael Juul Holm. Text by Michael Juul Holm, Helle Crenzien, Geoff Dyer, Judith Thurman, Christoph Ribbat, Jeffrey Fraenkel, Rune Gade.

Painter Michael Bevilacqua mixes and mashes pop-culture and rock references, luxury logos (Prada, Gucci), abstract figurations (stripes, checks), and psychedelic colors into loopy landscapes that manage to convey both personal narrative and cultural statement. Is he cynically resigned or critically satirical? Take your pick.