Bücher veröffentlicht von Hatje Cantz

Since the late 1970s, the Canadian artist Jeff Wall has contributed significantly to establishing photography as an autonomous medium, and is regarded as one of the key vanguards of "staged photography". Referring to his approach as "near documentary", his images resemble documentary photographs in style and manner, but instead are meticulously composed, multilayered compositions. Synthesizing photography with elements from other art forms such as painting, cinema, and literature-in a complex mode that he calls "cinematography"-his deeply intellectual work stages fictional realities, memories and past experiences in an elaborate process. Featuring more than fifty works, this catalogue accompanying the large-scale exhibition at the Fondation Beyeler juxtaposes Wall's iconic backlit color transparencies with his more recent black and white photographs and color C-prints, revealing a variety of references in content and form.With his innovative approach to photography, JEFF WALL (*1946, Vancouver) has significantly shaped the medium and its status within contemporary art. After completing his postgraduate studies in art history in the mid-1970s, his new conceptual approach to large-format pictorial photography attracted attention. Each of his images is a unique composition that can take years to complete. Since the mid-1990s he has expanded his repertoire, working with traditional black-and-white prints and, more recently, inkjet color prints. He lives and works in Vancouver.

Nina Beier probes the depths of the material world, exposing the underlying narratives contained in the lives of the objects we produce, acquire, use, and discard. Harnessing found objects and commodities as well as associated social habits and behaviors, she deftly manipulates and recontextualizes them within her sculptures and performances to examine global power dynamics, value, and representation. This richly illustrated volume provides an in-depth understanding of the Danish artist's multifaceted career through the sampling of existing texts written by key collaborators over the past decade, and newly commissioned essays which further explore the central concerns and motivations behind Beier's practice, exhibition history, and selection of materials. With extensive survey exhibitions culminating in 2024 at CAPC musée d'art contemporain, Bordeaux, KIASMA Museum, Helsinki, and El Museo Tamayo, Mexico City, now is an evident time to publish the first elaborate monograph to date.NINA BEIER (*1975, Aarhus, Denmark) graduated from the Royal College of Art, London in 2004. Working with a range of objects travelling between different geopolitical realities, Beier's installations seek to confront, negotiate, and undermine the volatile tropes these materials bear. Her internationally acknowledged work has been presented in a range of environments from museums to the public realm. She lives and works in Copenhagen.

What is there to hope for today? How does hope manifest itself at a time when a linear understanding of the future, of growing prosperity, security, and progress is canceled? How can hope be thought beyond market-driven forms of worldbuilding? Is there a third approach in which hope as a critical practice opens a path to alternative futures? After Techno Globalization Pandemic and HOPE is the third chapter of the long-term project TECHNO HUMANITIES, exploring the urgent questions of what it means to be a global citizen in the present-day dependency between ecology, technology, and economy. HOPE brings together a wide range of artistic positions from different generations that see the end of future as the start of new beginnings and an incentive to validate more circular and re-generative practices as a source of wonder and collective movement.

For the ZERO avant-garde, traditional conceptions of art could be challenged through transforming the atelier into an exhibition space and disseminating their art through books. In this manner they made friends with the representatives of Concrete Poetry. A diagram visualizes who they thought to be part of the movement: those who were open to experimentation and those were not afraid to work with fire; even in the galleries, few of which were willing to pay homage to the avant-garde at this time. International thinking united the young artists of the 1950s and 60s, whose network extended from Düsseldorf to Milan, Brussels, Paris, and Zagreb. Kinetics and light replaced brushes and canvases, and new music played in the background. They also tried to get closer to nature through the concept of the Open Artwork.In The ABCs of ZERO, writers, scholars, and authors from the fields of art, music, sociology and theater tell the story of this art movement-from A for atelier to Z for ZERO. Featuring a wealth of photos and documents from an era just emerging from the ruins, but facing the future with optimism, this book recalls a historical moment of peaceful utopia in Europe.

Ob in bildender Kunst, Literatur, Kino, Wissenschaft oder Mode - in den Krisen nach dem Ersten Weltkrieg beruhte die Faszination für Typen auf einem gesamtgesellschaftlichen Impuls. Man suchte neue Vorbilder und ganz unbescheiden das »Gesicht der Zeit«, wie uns die neusachlichen Bildnisse von Otto Dix, George Grosz, Jeanne Mammen und Hanna Nagel zeigen. Viele der klischeebehafteten Vorstellungen, etwa zur »Neuen Frau« oder zum »Arbeiter«, wirken bis in die Gegenwart, indem sie uns mit ihrer Klassifikation von Individuen an ein Dilemma erinnern, das auch in heutigen Rassismen fortlebt.Das weite Spektrum der Beiträge aus kunst- wie medizinhistorischer, aus medienwissenschaftlicher und soziologischer Sicht belegt dies eindrucksvoll. Eine eigens für die Ausstellungen entwickelte Installation der 1990 geborenen Künstlerin Cemile Sahin schlägt eine Brücke in die Gegenwart.MIT WERKEN VON:Hans Baluschek, Rudolf Bergander, Albert Birkle, Richard Birnstengel, Friedrich Bochmann, Steffi Brandl, Gottfried Brockmann, Friedrich Busack, Heinrich Maria Davringhausen, Erich Drechsler, Kate Diehn-Bitt, Rudolf Dischinger, Otto Dix, Hermann Fechenbach, Conrad Felixmüller, Fred Goldberg, Otto Griebel, George Grosz, Lea Grundig, Hans Grundig, Elsa Haensgen-Dingkuhn, Hainz Hamisch, Nini Hess, Olga Hayduk, Karl Hubbuch, Heinrich Hoerle, Lotte Jacobi, Grethe Jürgens, Alexander Kanoldt, Annelise Kretschmer, Paula Lauenstein, Lotte Lesehr-Schneider, Elfriede Lohse-Wächtler, Jeanne Mammen, Hanna Nagel, Gerta Overbeck-Schenck, Lotte B. Prechner, Anton Räderscheidt, Kurt Querner, Christian Schad, August Sander, Josef Scharl, Rudolf Schlichter, Wilhelm Schnarrenberger, Georg Scholz, Alice Sommer, Cami Stone, Erika Streit, Ernst Thoms, Kurt Weinhold, Erik Winnertz, Dörte Clara Wolff [DODO], Richard Ziegler und Cemile Sahin

Approximately 50,000 Jews survived the Holocaust inoccupied Poland and Ukraine, some of them using hideouts.Driven by necessity, they were forced to seek refugein unlikely and seemingly unsuited places such as treehollows, closets, basements or sewers-staying there fordays, and sometimes even years. They are a testament tothe architectural creativity of those who had to secure thebasic means of sustaining life with minimal resources,without being able to radically alter the space availableto them.Architect, scholar and artist Natalia Romik has identifiedand studied several hideouts that still exist today.Her research, resulting in the exhibition Hideouts. TheArchitecture of Survival, accentuates the material and spatialdimensions of living in hiding, gathering the evidenceof vernacular, architectural creativity employed underlife-threatening conditions. This interdisciplinary catalogue,addresses the fundamental question of the functionof architecture in relation to the history of violenceand our culture of commemoration.A graduate in political science, practitioner of architecture and artist, NATALIA ROMIK (*1983, Warsaw) received a PhD at London's Bartlett School of Architecture in 2018. Romik has been awarded numerous grants, including the London Arts and Humanities Partnership, and the Scholarship of the Minister of Culture and National Heritage of Poland. Currently she is a postdoctoral fellow at the Foundation for the Memory of the Shoah in Paris.

Skin in the Game follows on from the acclaimed fieldworkdiary, The Metabolic Museum. In this new book,Clémentine Deliss expands on how artists understand riskand contention both in their work and with regard to historicalcollections. Through a series of compelling conversations,questions are raised on how to work on colonialcollections through the concept of the "prototype" as generativeof a multiplicity of non-exclusive interpretations. Thebook includes interviews with leading women artists spanningtwo generations-Ruth Buchanan, Otobong Nkanga,Collier Schorr, Joëlle Tuerlinckx, and Andrea Zittel-inwhich they discuss that moment of "skin in the game,"when each of them took the decision to become an artist,to enter the Hades of an uncertain existence and theHeaven of aesthetic experiment. What was the prototypethat defined their career and their life's trajectory, that likea revenant returns over the course of an artist's lifetime?CLÉMENTINE DELISS (*1960, London) is an independent curator whose practice crosses the borders of contemporary art, critical anthropology and curatorial experimentation. She is internationally recognized for her seminal work on the Post-Ethnographic, on African modernism, and for her interventionist practices in art. She is Honorary Global Humanities Professor of History of Art at the University of Cambridge, and Associate Curator at KW Institute for Contemporary Art in Berlin.

Erased de Kooning Drawing is an artwork that radically challenged the very definition of art and questioned the notion of the artist as creator. Three American artists were involved in its creation: In 1953, Robert Rauschenberg erased a drawing by Willem de Kooning, who had somewhat reluctantly been giving his consent. Jasper Johns created a label for its first public presentation that proved to be key to the psychological framing of the piece. Having been transmuted into something new, the obliterated drawing was soon perceived as a pivotal moment in art history: In the 1950s it was considered Neo-Dada, in the 1960s it was hailed as the beginning of conceptual art, and in the 1980s saw it as a departure into postmodernism. Numerous artists referenced the work and it became a touchstone in Rauschenberg's oeuvre. Gregor Stemmrich outlines its status as a litmus test for the definitions of modernism, literalism and postmodernism, and demonstrates its continuing relevance for the theory of the image and the question of appropriation.GREGOR STEMMRICH (*1953, Soest) is Professor of Art and Art History at NYU Abu Dhabi since 2015. His main focus is on modern and contemporary art. Previously, he was Professor at Freie Universität Berlin and Hochschule für Bildende Künste Dresden. He edited the interviews and writings of Lawrence Weiner as well as Dan Graham, and has published extensively on abstract, conceptual and minimal art.

After the success of Coincidences at Museums, Austrian photographer Stefan Draschan has continued to work on his various photographic series¿and time and time again he has succeeded in finding eye-catching moments. It is therefore high time for a new book that presents his staged series for the first time, shows a selction from the previously unpublished series Cars Matching Homes, and above all presents new highlights from his museum series, which have become increasingly diverse. Draschan's work has inspired a wide audience to identify patterns and joyful compositions in everyday life. This beautifully designed book shows just how many visual surprises and unusual perspectives this master of the unex- pected moment has to offer.

CARRIE MAE WEEMS (*1953, Portland, Oregon) was trained as both a dancer and a photographer before enrolling in the grad­uate program in folklore at University of California, Berkeley in 1984. Questioning the representation of the Black subject, she came to prominence through her photographic work such as her seminal The Kitchen Table Series (1990), a narrative of staged photographs that tell a story of one woman's life, as conducted in the intimate setting of her kitchen. In 2014, she was the first African-American woman ever given a solo exhibition at the Guggenheim in New York.

In 2019, Berlin-based contemporary artist Stefan Marx created a series of drawings for a daily column in The New York Times. Now, he has turned his Reading the News series into quite a unique board book. Whether you think of it as an artist's book, a coloring book, or an inspiring children's book, it opens up unusual spaces for our imaginations. With just a few concise lines, Stefan Marx cheerful fruit and veg will change your frame of mind about reading the news.Over the past 20 years, contemporary artist, skateboarder and illustrator STEFAN MARX (*1979 Schwalmstadt, Germany) has lent his unique handwriting to a variety of media: paper, canvas, porcelain and textiles. He publishes artists' books and zines, designs record covers for various labels, and shows his work in international exhibitions, at art book fairs and galleries. Marx lives and works in Berlin.

Till Now provides an overview of the work to date of theyoung German-French artist Milen Till, whose multi-layeredworks explore the legacy of conceptual art as wellas the ready-made. His playful reinterpretations of masterpiecesby Marcel Duchamp, Joseph Beuys, Yves Klein,Sol Le Witt, Bruce Nauman, and many others make him ahumorous archaeologist of contemporary art. He takes uptheir methods and works, alienates them, contextualizesthem, rendering them an entirely new meaning. Using awide variety of methods, means, and tools¿from foldingrulers to drums and darts¿he takes components of arthistory and the art world's sacrosanct to develop entirelyoriginal works with a tongue-in-cheek lightness.MILEN TILL (*1984, Munich) was one part of the legendary DJ duo Kill The Tills together with his brother Amédée before turning to visual arts in 2016. He graduated from the Academy of Fine Arts in Munich in 2020, and has participated in numerous international solo and group exhibitions. Till lives and works in Munich.

Black Masculinities explores the broad spectrum and diversity of Black masculinities through the medium of contemporary photography. Seen through the lenses of 22 Black (or) People of Color (BPoC) from around the world, the stereotypic entanglement of Black identity and masculinity is deconstructed and charged with a new set of values. Embedded in a long history of slavery, racism and oppression, the topos of Black masculinity continues to be subtly represented as aggressive, hypersexual and violent to this day. This richly illustrated book breaks down and visualizes the common mechanisms of representation in visual culture through carefully edited images and a textual contextualization. It acts as an introductory index and platform for BPoC photographers, who have been underrepresented at all levels of art production since the beginnings of photography, and makes their work visible. For all of us.FEATURED PHOTOGRAPHERS: Kemka Ajoku, Kwaku Alston, Namafu Amutse, Eric Asamoah, Nuits Balnéaires, Arielle Bobb-Willis, Braylen Dion, Kofi Duah, Yannis Davy Guibinga, Jabari Jacobs, Kelvin Konadu, Jude Lartey, Naomi Mukadi, Maganga Mwagogo, Lakin Ogunbanwo, Ruby Okoro, Rogers Ouma, Micha Serraf, Ngadi Smart, Isaac West, Jozef Wright, Ussi'n YalaJOSHUA AMISSAH (*1995, Switzerland) studied fine arts, photography, and design at the Zurich University of the Arts. He works as a designer, (photo)editor, art educator and curator at the intersection of image and text. From 2019 - 2022 he was co-curator of photoSCHWEIZ and was the main curator of the Black Art Matters exhibition in this role in 2020. He lives and works between Berlin and Zurich.

It was the pioneering spirit in American Paper Art that sparked Therese Weber's interest in the material far beyond its conventional use. As an artist and researcher, she has since devoted herself to the medium and its cultural history, translating the process of paper pouring and dipping into an individual language of images and form. From paper creations using paper fiber and pulp painting, to research into prehistoric rock carvings and site-specific installations and performative actions in remote desert and mountain regions, Therese Weber's artistic practice displays a methodological diversity. Her research trips and prolonged stays in Japan, China and Central Asia were decisive for the artist's concepts. This book presents the focal points of her work, but also shows how the artist interweaves different media and themes. Exploring the spatial context between center and periphery, the notion of borders and border crossings is at the heart of her visual vocabulary and charecterizes her artistic language.THERESE WEBER (*1953 Switzerland) is one of the most important protagonists of Paper Art. The Swiss artist weaves photography, drawing, object and performative actions into an innovative visual language. Expeditions to the Far East and to Central and Southeast Asia have shaped her artistic research focus over the past thirty years.

Coupling defeat and despair with rebellious humor, Danish artist Peter Linde Busk explores the grotesque conditions of human existence. Populating his works with tragic and awkward figures like fallen heroes, jesters, or outlaws in abstract spaces of detailed ornamentation, his figurations are meticulously composed using a great variety of textures and techniques, and often incorporate random material relics from previous works. Similarly, his titles are wry quotes or poetic fragments: it is from Rilke that Peter Linde Busk has borrowed the title of the book, Who speaks of victory? To endure is all. This richly illustrated monograph features a major essay by art historian Maria Fabricius Hansen juxtaposing Linde Busk's work with medieval mosaics and the grotesques of Renaissance art. A catalogue raisonné of works from 2015 to 2022 is supplemented by short prose texts and a playlist by writer Minna Grooss that suggests a sound track to the materially emphatic works by Linde Busk.PETER LINDE BUSK (*1973, Copenhagen) is one of the most renowned Danish artists of his generation. Educated in London, New York and Düsseldorf and working in multiple media such as painting, sculpture, relief, and mosaic, a central theme of his work is seeing the beauty and value in what is normally considered failed. This is evident both in his motifs and in his choice of materials such as discarded matter or studio debris. Linde Busk lives and works in Berlin.

Influenced by her experiences of war and migration, Simone Fattal has transcended the boundaries of both media and geography like few other artists of her generation. In her collages, she combines pieces from her private archive with historical events in the Arab world. Made up of individual parts and reassembled, these works suggest the fragility of an identity shaped by migration. Her more abstract ceramic sculptures reference ancient myths and archaeological finds. Fattal's first solo exhibition in Germany is accompanied by the artist's first comprehensive monograph, which combines essays by long-time companions with new scholarly contributions by international authors.SIMONE FATTAL (*1942, Damascus) was born in Syria and raised in Lebanon. She studied philosophy at the École des Lettres in Beirut and at the Sorbonne in Paris, before returning to Beirut and starting to paint in 1969. Fleeing the Civil War in 1980, she settled in California. Fattal currently lives in Paris, and she has had recent exhibitions at the Whitechapel Gallery, London, Bergen Konsthall, MoMA PS1, New York and the Musée Yves Saint Laurent, Marrakech.

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.

With numerous images, texts and a catalogue raisonné, this book gives insight into the aesthetic specificity and complexity of Helga Fanderl's Super 8 work, conveying its origins and development, process and materiality, and form and poetic nature. Her films, varying programmes and site-specific projections evoke the permanence of the impermanent. Constellations of the artist's short texts, as well as those of different authors and of film images, photographs and documents represent and reflect the many facets of her work. The book's graphic design alludes to the density and rhythmic nature of her filmic practice.

Since the advent of modernity, art has been associated with freedom, provocation and courage. In 1972, art was to unfold its potential as an emancipatory and creative force as part of the Gesamtkunstwerk of the XX. Olympic Games in Munich-that was the grand vision of its planners. The international avant-garde of the time, including Walter de Maria, Gerhard Richter, Andy Warhol and Dan Flavin, enthusiastically developed revolutionary concepts. Much remained a draft. After the tragic assassination of Israeli athletes, concepts such as the "Spielstraße" were canceled. This publication is the first to give an impression of the playful, participatory cultural programme of 1972. In the second part of the book, a multitude of voices from all over the world look to the future. International authors and artists use contemporary examples to convey the importance of the arts in shaping the democratic society of the future.

Experiences of violence and loss take shape in the work of internationally acclaimed Colombian artist Doris Salcedo. Although her sculptures and installations are often based on concrete events, feelings of grief, alienation and loss of home take on a universally valid, heartfelt expression in her works. Different materials such as stone and cement, wooden furniture, grass, petals, hair or pieces of clothing are transformed/processed and charged with meaning. Rarely do individual pain and collective grief find such a touching form and is their social overcoming formulated so forcefully. Created in close collaboration with the artist, the catalogue brings together seven series of works and features a total of over 100 individual pieces.DORIS SALCEDO (*1958, Bogotá) is internationally renowned for her sculptures, site-specific installations and public interventions that address the traumas of violence, racism and other forms of marginalization. In 2003, on the occasion of the Istanbul Biennial, she stacked 1,550 chairs between two buildings; in 2007, she drove a 167-meter-long crack into the Turbine Hall of the Tate Modern for her work Shibboleth. Her most recent work Uprooted (2020-22) will be presented at the Sharjah Biennial.

gmp · Architekten von Gerkan, Marg und Partner ist ein Architekturbüro mit Gründungssitz in Hamburg und sieben Standorten weltweit. Mit seinem generalistischen Ansatz und der Erfahrung aus rund sechzig Jahren realisiert gmp Projekte im Dialog mit der Bauherrschaft und den beteiligten Planungsdisziplinen in jedem Maßstab und kulturellen Kontext, in jeder Planungsphase und auf allen Kontinenten. Die Bandbreite der Projekte reicht vom Wohnhaus bis zum Hochhaus, vom Stadion bis zum Konzertsaal, vom Bürobau bis zur Brücke, von der Türklinke bis zur Stadtplanung.

Oberschwaben (Upper Swabia), between the Black Forest, Lake Constance and the Allgäu, offers a richness of Baroque architecture and picturesque rolling landscapes. Axel Hütte's images are not intended as portrayals of a cultural landscape and its history. They are photographic images, but not necessarily photographically realistic images. They are, collectively, titled Reflexio. Hütte works with the inversion of the colour spectrum, the reflection of the pictorial space. The photographer's interventions in the realistic image are a radical transformation of what the eye initially registered, they contradict experience; negate customary perception. Instead, they are an autonomous aesthetic construct and reveal a different side of reality. The two themes in these works-"Baroque" and "landscape"-thus become equivalent tools for thoroughly investigating pictorial realities.AXEL HÜTTE (*1951, Essen) studied photography in Düsseldorf Art Academy in Bernd and Hilla Becher's class, and is considered one of main representatives of the Düsseldorf School of Photography. His images take on a painterly quality as strives to make the world experienceable as real and at the same time as imagination. His works are part of the world's most important photo collections. Hütte lives and works in Düsseldorf.

Candida Höfer created a new series of works in Liechtenstein in autumn and winter 2021. It forms the starting point and the focus of the first exhibition conceived jointly by Kunstmuseum Liechtenstein and the Hilti Art Foundation. The publication documents this group of twenty photographs, which reflect her ongoing exploration of scenes of cultural life and architecture. A production diary, in the form of a collage of emails, text messages and notes by those involved in the project, affords an insight into the various processes, from the initial idea for the show to the final selection of works. Another section documents the exhibition itself, including selected works from classical modernism to the present from the collections of both institutions.Candida Höfer (* 1944 in Eberswalde, Germany) is among the most important representatives of the Düsseldorf School of Photography associated with Bernd and Hilla Becher. Her works are in international collections and have been exhibited widely and worldwide, including the documenta 11, 2002. Höfer lives and works in Cologne.

Reena Saini Kallat's practice evolves around the tension between the concept of barriers in a world fundamentally shaped by mobility and interaction. Exploring the divisive narratives around national and geopolitical borders and their impact on identity and self-image for people and their immediate environment, she is also concerned with social and psychological barriers. That barriers give way, and can be subverted, is an idea that is pronounced in Kallat's work using electric cables twisted to resemble barbed wire. She uses the paradox of the existence of technology for free flow of information and restriction on movement. In order to expose the ambiguity of national narratives, the figure of the hybrid has come to hold symbolic potential in her practice, as a truant against dividing lines: Kallat creates hybrids of animals and plants that are strongly associated with national identity, only to show that nature defies the violent cleaving through land and nature, and uses the motif of the river, which is often both, border and lifeline to both sides. Kallat's work reveals the idea of isolation as an illusion, and instead suggests to embrace a pluralism of cultures.REENA SAINI KALLAT (*1973, Delhi) is one of the most acclaimed contemporary artists from India. Having studied painting in Mumbai, where she also lives today, her practice spans drawing, sculpture and installation, photography and video. Her interest in political and social borders resonates with the continuing aftershocks of the Partition in India, which her paternal family experienced. Her work is widely exhibited at international institutions including the Museum of Modern Art, New York, and Tate Modern, among many others.

Mixing seemingly deadpan architectural portraiture with poetically frozen moments of daily life, photographer Kris Graves reveals the living history of racism and elitism in the United States.In Privileged Mediocrity, Graves shows us both the brutality and beauty of American life. Each image of a person or a place tells its own complex, moving story and cumulatively capture a longing for the unfulfilled promise of a true democracy. Racism can be seen in infrastructure and planning nationwide, from the human and built environment impacts of redlining and unsustainable public housing; to spaces where homeless communities are able to exist temporarily before they are dismantled. This book seeks to explore the subtleties of the built realities and the planned experience across racial, class, and gender lines. It explores how racism, capitalism, and power have shaped the country and how that can be seen and experienced in everyday life.KRIS GRAVES (*1982, New York) is a photographer and publisher based in New York and California. Using a mix of conceptual and documentary practices, he photographs the impact of systemic unfairness on the built environment. Graves received his BFA in Visual Arts from S.U.N.Y. Purchase College and has been published and exhibited globally, including MoMA, New York; Getty Institute, L.A.; and National Portrait Gallery in London.

In her artistic practice, Andrea Büttner combines art history with social and ethical issues. Since the early 2000s, she has been exploring a wide range of themes such as work, poverty, shame and care in monastic forms of coexistence, but also on arts and crafts as a political field. Examining the ambivalent tension between aesthetics and ethics, the internationally renowned artist uses various conceptual methods. Best known for her large-scale woodcuts, Büttner has since used a variety of media, including etching, painting, photography and video installations, glass art and textiles. For her publications and exhibitions, Büttner composes her works thematically to create site-specific installations that can be experienced as gradually unfolding narratives.German artist ANDREA BÜTTNER (*1972, Stuttgart) studied fine arts, philosophy and art history in Tübingen and Berlin. Focussing on the relationship of shame and art, she received her PhD from the Royal College of Art in London in 2010. She took part in dOCUMENTA 13 and was shortlisted for the Turner Prize in 2017. Büttner currently is Professor of Art in Contemporary Context at the Kunsthochschule Kassel. She lives and works in Berlin.

The exhibition A War in the Distance, the central project of the 2022 edition of steirischer herbst festival, took place at Neue Galerie Graz / Universalmuseum Joanneum and invited visitors to engage with historical and contemporary works directly or indirectly about wars past and present. Confronting lesser-known 19th- and 20th-century paintings from Neue Galerie Graz's collection with works made by artists today, it uncovered hidden stories from the uncomfortable past. This richly illustrated publication documents this exhibition as well its surrounding festival program. Throughout, Russia's war of aggression in Ukraine was ever present, like a filter, impossible to erase or forget.Every year for a month, STEIRISCHER HERBST, one of the oldest interdisciplinary festivals of contemporary art in Europe, turns the city of Graz and the province of Styria in Austria into a parcours of installative and performative works. Since 1968, the festival has offered a platform for public debates, critical positions, and dialogues between the arts.

Anthony Amies' paintings assert a classical conception of painting. From the mid 1970s, the British artis pursued a radical counter-concept to the art of his time with a stylistically peculiar landscape painting. They are calm and enigmatic pictures that do without any scandal. In large-scale drawings and oil paintings, he plays with the "blot" technique: Amies abstracts the landscapes to convey an idea rather than a realistic image. The reduction to land and sea is a reflection on England and the loss of its individual landscapes to the monotony of industrial and urban proliferation and sprawling housing estates. In this idiosyncrasy¿the assertion of the genre of landscape painting and in the painterly quality of the works as a contribution to the assertion of painting in art¿lies the importance of this English painter.ANTHONY AMIES (1945, Norwich-2000, London) was educated at Great Yarmouth College of Art in the 1960's and later at London's Slade School of Fine Art. Refusing to conform to the zeitgeist, he found his visual language inspired by Cozens' blot technique in the early 1970s, and would persist with it until his untimely death in 2000. Amies received the Arts Council Award in 1977 and worked teaching art in Camden from 1973-1995 at the Camden Institute and the Camden School of Art.

John Isaacs gilt weithin als einer der einflussreichsten Künstler seiner Generation. Diese umfangreiche Publikation ist der erste umfassende Überblick über sein Werk von den 90er Jahren bis in die Gegenwart.

Ted Stamm's paintings, drawings and performative works show the New York artist's constant engagement with his time and his tireless experimental way of working. He developed a minimalist visual language that often appears strictly geometric and simple, yet conveys a great sense of freedom. His iconic works and cross-media conceptual approaches went on to influence a wide range of artists in the generation that followed. This new monograph on the work of the American artist is the most comprehensive published to date. Examining Ted Stamm's series and artistic language through essays by renowned scholars that place his work in the context of its time and discuss his contribution to the art historical canon, it provides an in-depth insight into Stamm's multifaceted oeuvre.