Bücher veröffentlicht von Hatje Cantz

Pioneer of color photography: comprehensive overview with unreleased photo material

Ruth Orkin is a legend of street photography - her atmospheric pictures taken in cities such as Florence, New York and London still shape the image of these metropolises today. But Orkin's specialty not only encompassed the urban but also the personal. This is evident in her unique eye that enabled her street scenes to consistently offer penetrating insights into the time and personality of her subjects. And it likewise shows in her fantastic portraits of celebrities such as Albert Einstein, Woody Allen, and Lauren Bacall. These inimitable images seemingly combine snapshot and pose to present the star in his or her role and at the same time as an autonomous individual. Published on the occasion of the photographer's 100th birthday, this illustrated book celebrates the Orkin's life and work with an equally extensive and fascinating overview of this exceptional artist's oeuvre.RUTH ORKIN (1921-1985) studied at Los Angeles City College. Working as a freelance photographer, her pictures were published in magazines such as Life, Look, and Ladies' Home Journal. She was awarded an Oscar for the film Little Fugitive, which she made with her husband in 1953. World Through My Window (1978) is her best-known book of photographs.

Under the guiding principle of lumbung, the Indonesian collective ruangrupa is less concerned with individual works than with forms of collaborative working. As a reference work, companion, and innovative art guide, the Handbook offers orientation for these comprehensive processes; it is aimed at visitors to the Kassel exhibition as well as those interested in collective practice. All the protagonists at documenta fifteen and their work are presented by international authors who are familiar with the respective artistic practice and cultural context. Entitled "lumbung," the book introduces the mindset and cultural background of documenta fifteen illustrating the artistic work processes with numerous drawings. A chapter on Kassel presents and explains all the locations of the show, including the artists and collectives represented here.

Enchanting watercolors from the art of design

Numerous publications and exhibitions have examined Jean-Michel Basquiat's extensive oeuvre that consists of more than 3000 works. This catalogue, however, focuses on eight paintings: In the summer of 1982, Basquiat traveled to Modena, Italy, for one of his first solo exhibitions in Europe at the gallery of Emilio Mazzoli. Within just a few days, he painted a group of large-format paintings that surpassed his previous work not only in terms of their scale. Each at least two by four meters in size, they mark his transition from graffiti spraying in the streets of Manhattan to painting on canvas. At the same time, they reflect an artist coming into his own. The paintings¿including masterpieces that today are considered pivotal and among the most outstanding of his oeuvre¿have never been shown together. This catalogue revisits this crucial moment of Basquiat's career some 40 years ago and reunites them for the first time.JEAN-MICHEL BASQUIAT (1960-1988, New York) is one of the most important artists of the 20th century. Emerging from the underground post-punk scene in Lower Manhattan, he attracted the attention of the art world in 1981 with the legendary group exhibition New York/New Wave. In nine prolific years, he created an oeuvre that formulated a new visual language of raw gestural painting fused with dense writing, and repeatedly reflected the oppression, exclusion and exploitation of Black people.

Few materials have experienced a similar reevaluation in contemporary art as clay has in the past few years. This timely publication accompanies a large-scale exhibition at Hayward Gallery, London, exploring how contemporary artists are using clay and ceramics in inventive and surprising ways, pushing the boundaries of the medium. Featuring the work of over 20 international artists-from Grayson Perry to Woody De Othello-an introductory essay by curator Cliff Lauson, a text on the history of fine art and ceramics by writer and critic Amy Sherlock, and a round table discussion with the artists from the exhibition, this catalogue is a meaningful contribution to the ongoing conversation about the relationship between art and craft.Located in London's Southbank Center HAYWARD GALLERY's year-round exhibition program focuses on presenting a wide range of adventurous and influential artists from across the world.

The city Fred Herzog documented over more than half a century has vanished-an early kind of urban flaneur, Herzog wandered the streets of Vancouver, creating an archive that encapsulates the essence of a bygone era. Considered today as one of the most important street photographers of the 20th century, he changed the international conversation about early color photography. However, it was only in the late 1950s that he decided to primarily shoot with Kodachrome color slides. Fred Herzog: Black and White is the first acknowledgement of a lesser-known facet of the photographers' work. Complementing the seminal Modern Color, it encompasses almost graphical urban scenes of shadow and light, alongside travel photographs and depictions of rural life. Evoking notions of melancholy, this book reveals that Herzog's appeal lies in his ability to seize a condensation of a psychological state. FRED HERZOG (1930-2019) grew up in Stuttgart. In 1953 he settled in Vancouver, where he worked as a medical photographer. A pioneer of color photography, he was already in his 70s, when printing technology finally allowed him to recreate the texture and depth of his Kodachrome color slides. His first solo show at the Vancouver Art Gallery in 2007, gained him widespread international recognition.

This book provides a comprehensive overview of the fabric works from the last two decades in the career of legendary artist Louise Bourgeois. "I've always had a fascination with the needle," she said, "the magic power of the needle. The needle is used to repair damage. It's a claim to forgiveness." This body of work began when the artist started incorporating clothes from all stages of her life into her art, and later expanded to include a range of other textiles such as bed linen, handkerchiefs, tapestry, and needlepoint. The fabric works mine the themes of identity and sexuality, trauma and memory, guilt and reparation, and serve as metaphors for emotional and psychological states. The catalogue - which accompanies the exhibition at the Hayward Gallery, London, and the Gropius Bau, Berlin - features works from numerous series, including the monumental Cell installations, figurative sculptures, and abstract drawings.LOUISE BOURGEOIS (1911-2010) is one of the most influential artists of the 20th and 21st centuries, best known for her formally inventive and psychologically powerful sculptures.

Upon closer inspection, inconspicuous things that are frequently taken for granted tend to reveal a whole universe of fascinating details and unusual features. You just have to have the right eye for them. This is absolutely the case with William Mullan. His encounter with the varying appearances of an Egremont Russet apple gave him a taste for it. Since then, he has explored the vast range of apple varieties, capturing their individual charms in loving, stylishly elegant portraits. It is precisely this odd charm combined with the hitherto unknown that make these photographs fascinating studies of a supposedly commonplace fruit. Mullan confides completely in their idiosyncratic aesthetics and invites us in this attractive gift book to embark on a visual expedition into the world of the apple.New Yorker WILLIAM MULLAN (*1989) came to photography as an autodidact and his talent was quickly recognized. His Odd Apple project developed into an influential and much talked-about series (for example in The New Yorker and i-D Magazine) that soon gained widespread attention.

While German painting of the postwar period mostly concerned itself with coming to terms with the past and presenting it in gestures ranging from the heroic to the ironic, Daniel Richter focuses on positioning himself in the present. Time and again he devises new ways of being "modern" in a medium that has long been labeled old-fashioned. His pictures consistently challenge the spectator through their painterly and contextually excessive demands, but they do not lecture on moral issues. For the first time, Eva Meyer-Hermann traces the chronological development of Richter's oeuvre across more than 200 examples of his work. The turns from abstraction to figuration and back again that until now have been described as abrupt, prove on closer examination to be a logical consequence and a sign of conscious artistic action.DANIEL RICHTER (*1962, Eutin, Schleswig-Holstein) has been one of the most significant and internationally renowned painters of his generation for more than twenty years. His beginnings in the autonomous left-wing underground and studies with Werner Büttner at the Hochschule für bildenden Künste in Hamburg contributed to his reputation, as has his eloquent public presence.

Landon Metz's abstract paintings reflect the artist's deliberate and meditative attention that endures throughout each phase of the artist's process. From stretching canvas to selecting his specific palette to the actual application of paint and subsequent creation of form, the end result of such intense concentration is an energy that seemingly reverberates from Metz's work. Curving forms of mesmerizing color on individual canvasses are often exhibited as diptychs and triptychs, or serially installed next to one another in installations to form a larger dialogue, creating pattern and rhythm. Metz's artworks communicate a contemporary voice engaging directly with the larger dialogue of abstraction's expansive history. The forms and repetition found in nature are often sources of inspiration for Metz, the artist being from Arizona where rock formations shaped over thousands of years are direct examples of the relationship between time, material, and form. This book brings together numerous examples of this young tour de force's elegant oeuvre, while exemplifying the ways in which such a spirit of studied precision and deliberation holds enduring value in a world that seems to move faster with each passing day.LANDON METZ (*1985, Phoenix, Arizona) has had solo exhibitions inNorway, Italy, Denmark and Canada. He was the artist in residence atthe ADN Collection in Bolzano, Italy in 2014. Metz was the subject of asolo exhibition at Museo Pietro Canonica in Rome in 2018. Metz livesand works in Brooklyn, New York.

New creations by the master of the absurd| Over 11,000 sold copies of this debut book, Topsy-Turvy World

¿ First comprehensive volume on the artist's spatial alterations ¿ Subversive humor¿ Resonating social criticism

Her American Girl in Italy-the street scene with the whistling Italians-is an icon. Now sensational negatives and slides have surfaced from the archive that reveal a little-known side of Ruth Orkin: that of the sensitive, interested, witty chronicler of the women's world of the 1940s and 1950s. Orkin thought up editorials like the tongue-in-cheek reportage Who works harder? comparing the lives of a career woman and a housewife. She documented the hustle and bustle in beauty salons and at cocktail parties, at dog shows and on Hollywood film sets. We meet Lauren Bacall, Jane Russell, Joan Taylor or Doris Day, but also waitresses, stewardesses and female soldiers, as wall as groups of female friends. What emerges is the image of women on the move, women who are beginning to cast off the conventions imposed on them, going their own way: self-confident, stylish, smart.American photographer, photojournalist, and filmmaker RUTHORKIN (1921-1985) grew up in Hollywood as the daughter of asilent film actress. She went on to be one of the first women tostudy photojournalism at Los Angeles City College. In 1943 Orkinmoved to New York City, working as a freelance photojournalist.Her photographs appeared in The New York Times, LIFE, Look,Ladies' Home Journal, and other publications. On the occasion ofwhat would have been her 100th birthday, exhibitions were heldacross Europe and North America. In 2021, Hatje Cantz publishedA Photo Spirit dedicated to her pioneering work.

Haegue Yang: The Cone of Concern documents the Koreanartist's solo exhibition at the Museum of ContemporaryArt and Design in Manila. Known for her unique interweavingof conceptual language and aesthetic vocabulary, Yang,who lives and works in Berlin and Seoul, is one of the mostwidely exhibited artists of today as well as a professor atthe renowned Städelschule in Frankfurt am Main.The Cone of Concern, which takes its name from a graphicaltool used in weather forecasting, which traces the pathof an oncoming storm, represents humanity's attempt toconfront natural phenomena. Yang explores this conceptas a way for the human imagination to understand ourown condition in the universe, and as a metaphoricalnotion of solidarity among those facing difficult circumstances.The publication revisits her complex layering ofobjects-woven anthropomorphic sculptures, light sculptures,rotating sound bells, whirlwind-derived structures,textile canopies, and sound elements-against a lenticularprint backdrop of a digitally altered meteorological image.HAEGUE YANG (*1971, Seoul) lives and works in Berlin and Seoul. Since 2017 she has been Professor at the Städelschule in Frankfurt am Main. Her work has been included in numerous exhibitions internationally, such as the Venice Biennale; documenta, Kassel; at Centre Pompidou, Paris; and at Museum Ludwig, Cologne.

David Stephenson's stunning large format photographs ofcities at night across America, Australia and Asia reveal globalizedurban sprawl, energy use, and light pollution. Theseglowing "light cities" suggest much that is both good andbad in our industrialized society: extraordinary examples ofa monumental technological sublime, where awe, beauty,and human aspiration are tinged with the shadow of loomingenvironmental catastrophe, our engine of modernityseemingly running on empty. The accompanying essay byphotographic historian Keith F. Davis discusses the evolvingidea of the city as a key theme in photography, and whatit has symbolized, from the modernist city as an engineeringfeat, to the post-modernist city as a focus of energyand information.DAVID STEPHENSON (*1955, Washington D.C.) has lived inAustralia since 1982, when he took up a teaching post at theUniversity of Tasmania Art School. A fascination for vastness inspace and time has led him to travel and photograph extensivelyaround the world, with journeys to Europe, the Himalayas, andboth the Arctic and Antarctic. His photographs and video workshave been widely exhibited in galleries around the world.

This book is a journey into the cosmos of the Brazilian-Swiss artist Pedro Wirz, in which humans and animals, but also legendary creatures coexist. His artistic investigation of the systemic devastation of diversity witnessed across biological, cultural, and ethnic fronts today is based on scientific explorations, but also on his very own experiences within a particularly threatened ecosystem. The child of an agronomist and a biologist, Wirz spent most of his youth in the tropical Vale do Paraíba in Brazil. To this day, his fascination with science as much as with indigenous mythologies continues to inform his work. He creates his sculptures and installations from a mixture of organic materials like wax, earth, wood, clay and straw as well as artifacts of the consumer world such as toy cars, dolls, textile remnants, Lego, old clothes and electronic devices. However, Wirz is also interested in new, promising materials such as mushroom threads, bamboo or nanomaterials. With his combination of paradoxical elements from the remotest past and the foreseeable future, from technological reality and poetic imagination, Pedro Wirz brings back the original familiarity that used to exist between science and mythology.PEDRO WIRZ (*1981, Pindamonhangaba, Brazil) is a Brazilian-Swissvisual artist dealing with the coexistence of different specieswithin an ecosystem. His work has been exhibited at KunsthalleBasel, Palais de Tokyo, Hessel Museum of Art, KünstlerhausStuttgart and Kunstverein Dortmund, among others.

Zhou Li's lyrical abstract paintings capture her acute sensoryobservations of the world: lightness and shadow,solidity and dissolution, the sense of being. Building uponthe history of European painting and the central tenetsof traditional Chinese art, the Shenzhen-based artist harnessesboth traditions to develop a distinct painterly language.Her free-flowing charcoal lines intersect with circlesof paint in a gauzy, gossamer palette.Organized in three sections, this publication presents threepivotal bodies of work. Lost in Green, created in the uniqueyear of 2020, turns our attention to the elemental shiftsof spring, harnessing its powerful symbolism of flux andregeneration. Tracing The Peach Blossom Spring uses coloras a healing force and tool for self-reflection, expressingemotional journeys in response to life cycles of birth andgrief. Water and Dreams focuses on the universal motifof water, drawing upon its rich cultural symbolism andcomplex representations throughout art history, religionand mythology. Insightful and poetic texts and a distinctivethematic colorway respond to each body of work.ZHOU LI (*1969, Hunan, China) creates paintings, sculptures, installations and public art using mixed media, including oil paint, washes of ink, charcoal and cotton cloth. After graduating from the Guangzhou Academy of Fine Arts in 1991, the artist spent eight years living in Paris, and eventually returned to China in 2003. Zhou Li has been the subject of critically acclaimed museum shows across China.

The term "concrete art" was coined by the Dutch artistTheo van Doesburg in 1930, referring to works of art thatare exclusively based on purely "plastic" elements, suchas color, line and plane, thereby forming an independent"concrete" reality. Accompanied by a new interest in howwe perceive and process visual impressions, insights fromperception psychology have been artistically explored tocreate dynamic and 'living' images.Over the past 50 years, the Norwegian art collector ErlingNeby has built an extraordinary collection of geometricand concrete art. Encompassing European, American andNordic art, the main focus is on works from the post-waryears, including leading figures such as Victor Vasarely,Max Bill, Auguste Herbin, Josef Albers, Aase Texmon Ryghand Olle Bærtling, as well as new generations of artistswho, in different ways, use a geometric-abstract form ofexpression. This catalogue documents a major exhibitionat the Kode Art Museum in Bergen featuring more than100 works from the collection, which-through its truly personalselection-offers a complex picture of artistic positions,and the impact of geometric and concrete art.

On the occasion of the 100th anniversary of Boris Lurie's birthday the catalogue Life with the Dead presents more than fifty works from 1950 to 1970 that illustrate his active commitment to social justice and the memory of the Holocaust. The Jewish artist bore witness in many ways to the horrors of the Holocaust in the German concentration camps. However, his works of art are not only expressions of suffering, but also symbols of hope for the integration of someone who would henceforth belong to the minority of survivors. Friends and companions describe Lurie's development from his beginnings in the 1950s, through the NO! art movement, to his renaissance as one of the main representatives of Holocaust art. Tom Wolfe published his text on an exhibition at Gertrude Stein's gallery, New York in 1964. René Block exhibited Lurie in Berlin, and Achille Bonito Oliva met Boris Lurie's art in 1962 on the occasion of the exhibition Doom Show Boris Lurie and Sam Goodman at the Galeria Arturo Schwarz in Milan. Rafael Vostell and Jürgen Kaumkötter provide the contextual framework for the book, which is complemented by words of greeting from Gertrude Stein, Boris Lurie's lifelong friend and Jürgen Wilhelm from the Landschaftsverband Rheinland.Born in Leningrad in 1924 and raised in Riga, BORIS LURIE (1924-2008) lost his emotional home forever in December 1942 withthe murder of female family members and his childhood sweetheart.After surviving several German labor and concentrationcamps, Lurie emigrated to New York in 1946, where he became aco-founder of NO! art, a provocative art movement of the 1960s.Characterized by subversion, irony, and often through direct referencesto the Holocaust, Lurie's works were critical comments onPop Art and the American consumer culture of his time.

"I have always been interested in photographing normal,everyday life. For me the greatest challenge is to makean interesting image of something very ordinary, almostinvisible," reflects Finnish photographer Markus Jokela.His images are the result of coincidences and unplannedencounters with people and places. Jokela almost neverstages his photographs. Sometimes he asks people to stop,to freeze, but usually he just snaps one or two frames andcontinues walking. Moments and Landscapes of MinorImportance were shot in Helsinki between 2019 and 2023.Most of them were captured within a few kilometers fromwhere he lives.Jokela has won three World Press Photo awards, butdespite his proximity to global moments, his personal projectsoften document everyday human life.MARKUS JOKELA (*1952, Helsinki) is a photographer who hastraveled the world to report on global news. He earned his MA insocial sciences at University of Tampere, Finland, and from 1981-93 worked as a journalist for the Helsingin Sanomat newspaper,before becoming a photo editor at the same newspaper, andeventually a photographer in 2001.

Mit der Publikation dieDASdocs: Monumental Affairs liegt die erste Publikation der Designakademie Saaleck vor. In dem ersten Band der Reihe werden die Ergebnisse des Fellowship-Zyklus 2023 'Monumental Affairs' präsentiert. In der Publikation werden Arbeiten vorgestellt, die die Saalecker Werkstätten als umstrittener Ort kritisch zu Begriffen wie 'Rasse', Nationalismus, Architektur und Gestaltung diskutieren.

Sacred Modernity documents the dramatic shift in ecclesiasticalarchitecture across post-war Europe. Spurred on bythe modernizing impulses of the Second Vatican Councilin the early 1960s, and in search for an appropriate architecturallanguage that showed that the Catholic Churchwas still relevant to the modern world, this was the periodwhen the church married the atheist architect, and bore achild of pure form. Among these structures, some exude ajoyful antagonism, while others emanate a cold minimalism.Boldly designed, outrageous and provocative for theirtime, the aesthetic of this period still ignites great debatebetween modernists and traditionalists.Half a century on, this study traces how their materials andideals have matured and patinated. Remaining amongstthe most unique buildings within our public sphere, theyare future visions from the near past that seem to anticipatesocieties current shift away from organized religiontowards an individual spirituality.The book represents the first attempt by a photographer tocollate the religious architecture of the mid-century highmodern years that took many forms, from Brutalism toStructural Expressionism, under a singular artistic vision.JAMIE McGREGOR SMITH (*1982, Weymouth, UK) studiedphotography at Staffordshire University, graduating in 2006.Inspired by the American New-Topographic movement, he beganhis documentary records with the defunct pottery industry in theBritish midlands, the collapse of the motor industry in Detroit, orthe abandoned Athens Olympics stadiums. His works have beenpublished by The New York Times, The Guardian, the FinancialTimes, Wallpaper*, Architectural Digest and Vanity Fair.

Nachdem der experimentelle Musiker und bildende Künstler Mazen Kerbaj mit seiner Familie von Beirut nach Berlin gezogen war, sah er sich mit einer neuen Sprache, einer neuen Welt konfrontiert. Er beschloss, Deutsch auf seine Weise zu lernen: ein Wort pro Tag, 365 Tage lang, jedes Wort illustriert durch ein Selbstporträt. Learning Deutsch ist Wort-Bilder-Buch und immerwährender Kalender zugleich: Wort für Wort folgen wir Mazen Kerbaj auf seiner Entdeckungsreise durch Eigenheiten der deutschen Sprache. Die von arabischen, englischen und deutschen Wörtern flankierten Zeichnungen entwickeln ein einzigartiges Lehrbuch zum Spracherwerb. Die Zeichnungen sind oft witzig, manchmal aber auch traurig und anrührend; sie illustrieren selten einfach nur die Worte, sondern sind das offene Tagebuch eines Künstlers aus dem Nahen Osten der seinen Weg im deutschen Alltag findet.MAZEN KERBAJ (*1975, Beirut) der in so unterschiedlichen Bereichen wie Musik, bildende Kunst, Comic oder Theater arbeitet, ist eine der Schlüsselfiguren der libanesischen Kunstszene nach dem Bürgerkrieg. Seine Arbeiten wurden in mehr als zehn Sprachen veröffentlicht und in Galerien, Museen und auf Kunstmessen in aller Welt ausgestellt.

Wer eine seiner spektakulären Performances auf der Bühneoder Interventionen im öffentlichen Raum erleben durfte,wird sie nicht vergessen haben. Bunt vermummte Performer*innen bewegen sich im Trupp durch die Stadt und- auf ein geheimes Kommando hin - stapeln sich und verschränkenihre Körper in Hauseingängen, auf Treppenabsätzenoder auf Parkbänken, das Publikum folgt ihnenstaunend. Künstler und Choreograf Willi Dorner gründeteseine Kompanie 1999 in Wien: Mit seinen ortsspezifischenPerformances und Interventionen, Fotografien und Filmenermöglicht er eine differenzierte Wahrnehmung unseresAlltages.Dieses Buch gibt einen Rückblick auf sein bisheriges interdisziplinäresSchaffen im Innen- wie Außenbereich. ZahlreicheBilder sind den persönlichen Erinnerungen Dornerszur Seite gestellt und vervollständigen das Bild über seinekünstlerischen Arbeiten abseits der Bühne vom Ende der1990er-Jahre bis in die Gegenwart. Ein interessanter Einblickin das »making-of« der Projekte, Erlebnisse auf seinenzahlreichen Reisen, eine Fotostrecke zum Thema Stadtrunden das Porträt ab.

Gabriele Rothemanns Fotografien bilden nicht einfachetwas ab, sondern stellen etwas her: Eine Beziehung zulängst Vergangenem, eine Verbindung mit fremden Zeitenund Räumen. In jedem Bild schwingt der Nachhall andererBilder mit, in jedem ist eine Fülle von Möglichkeiten, wiedie Welt im Bild wahrgenommen und dargestellt werdenkann, verdichtet.Seit 1984 verwendet sie das Medium der Fotografie in einerArt und Weise, die den Gegenstand in ihren Bildern nichterstarren lässt, sondern ihm imaginäres Leben verleiht.Ihr Werk kreist um existenzielle Fragen - insbesondereum die Grundfrage allen Lebens: seine Endlichkeit. Oftabstrahiert und gleichzeitig präzise und detailreich dargestellt,bekommen ihre Motive von den Toten Tieren zuden Miniaturen über das Verschwinden eine eindringlichePräsenz. So appelliert die Künstlerin an die Empathie ihrerBetrachter*innen und berührt sie nicht zuletzt mit dersinnlichen Qualität ihrer Bilder, ihrer klaren Bildspracheund ausdrucksvollen Schönheit.GABRIELE ROTHEMANN (*1960, Offenbach am Main) hat an derKunstakademie Düsseldorf bei Fritz Schwegler und am CaliforniaInstitute of the Arts, Los Angeles, studiert. Sie lebt und arbeitetin Wien. Seit 2001 leitet sie als Professorin die Klasse für Fotografiean der Universität für angewandte Kunst Wien. RothemannsWerke werden in zahlreichen Ausstellungen im In- und Auslandausgestellt und sind in vielen Sammlungen vertreten.

Sanyu: His Life and Works in Oil traces the life of theChinese artist (1895-1966) from his early years in Chinaand Japan, to his artistic experimentation and developmentin Paris and New York, ending in his tragic death,impoverished and forgotten. Today, however, Sanyu is oneof the most coveted Chinese modern artists. An examinationof his life reveals that it was precisely the polaritiesand tensions he experienced that spurred him to create aunique pictorial language that so dynamically integratedthe spirit of Western modernity with centuries-old establishedChinese traditions. Sanyu metamorphosed froma Chinese artist of the modern period to a modernistwith Chinese cultural roots. These intersecting dynamicsresulted in a hybridization previously unseen.Featuring examples of his works of all genres and drawingon a wealth of archival material as well as personal storiesrecounted by people who knew Sanyu, this biography is themost comprehensive record of Sanyu's life to date.

Charcoal Vol. II presents the charcoal drawings of American artist Robert Longo from 2012 to the present. This large-format, elaborately designed catalogue, printed on natural paper using a tritone process, bound in half linen represents a continuation of the first volume; together they form a comprehensive compendium of this central oeuvre by the legendary New York artist, who was a key figure in founding the Pictures Generation in the 1980s. In this new catalogue, essays by Tim Griffin and Haley Mellin address the existential questions of our time that are at the heart of these new, large-scale, hyperrealistic drawings: war, violence, capitalism, the rising division of American society, the possibilities of political protest and individual freedom in the face of the overwhelming power of the media.ROBERT LONGO (*1953, Brooklyn) is one of the most influential artists of American postmodernism. After graduating from the State University College in Buffalo, New York, in 1975, he became one of the central protagonists of the Pictures Generation. Despite the diversity of their individual positions, this loose group around artists Cindy Sherman, Barbara Kruger, Louise Lawler, David Salle, Richard Prince, Jack Goldstein, and Sherrie Levine is characterized by its use of already existing images referencing mass media and pop culture. Longo lives and works in New York.

The pilot issue of the new annual publication DELUS offersa range of diverse insights into landscape and urban questions.Founded in 2022 by the Institute for Landscape andUrban Studies (LUS) at ETH Zurich, it introduces new methodsto unpack multiple worlds and narrate manifold stories.The contributions range from unraveling histories of land-body relations through recipes with Luiza Prado de O.Martins, following living fossils and their mythical counterpartswith Christina Gruber, working with communitiesto examine extractive environments with Karin Reisinger,exploring postnatural aesthetics with the Institute forPostnatural Studies, to recording wastelands with SandraJasper and developing speculative curricula engagingwith overlooked forms of knowledge alongside FedericoPérez Villoro. As a collection, these contributions addressthe complex relations between humans, non-humans andtheir environment across time and space. RIOT-Research and Innovation On Territory-is a laboratory engaged in pedagogy and research within the Institute of Architecture at the Swiss Federal Institute of Technology (EPFL), lead by architect and urban designer CHARLOTTE MALTERRE-BARTHES. Believing that the construction sector and design disciplines must pivot and wholeheartedly engage in the current social and climatic urgencies by rewiring themselves to face and repair the harm, RIOT utilizes tactics and strategies to decarbonize, decolonize, and depatriarchalize space production-by design.

SINK / RISE is the third chapter of The Day May Break, NickBrandt's ongoing global series portraying people and animalsthat have been impacted by environmental degradationand destruction. This third chapter focuses onSouth Pacific Islanders impacted by climate change andserves as a stark reminder of the looming reality manyisland nations face. The local people in these photos, photographedunderwater in the ocean off the coast of theFijian islands, symbolize the many people who stand tolose their homes, land and livelihoods in the coming decadesas the water rises.The images-all shot in-camera underwater-are hauntinglybeautiful. But beyond the immediate visual impact,Brandt's work delves deeper, asking: how did we get here?What does the future hold for these communities? Andhow can we mitigate, if not reverse, the damage? Brandt'semphatic portraits bridge the often abstract concept of climatechange and are a reminder that behind every statisticabout rising sea levels, there's a tangible human story.NICK BRANDT (*1964, London) studied painting and film at St.Martin's School of Art, London. In 1992 he moved to California,where he still lives today. Since 2001, he has documented thedestructive impact that humankind is having on the naturalworld and, as a result, on humans themselves. Chapter One ofhis seminal series The Day May Break featured photographstaken in Zimbabwe and Kenya in late 2020. Chapter Two wasshot in Bolivia in 2022. In the third chapter Brandt introducescolor to the series, highlighting the all-encompassing impact ofthe water.