Bücher veröffentlicht von Skira

With Italy, for Italy is not just a large book of photographs, but an initiative of great cultural and social importance. With this book, Lamborghini, one of the most prestigious Italian brands in the world, has decided to go beyond the traditional logic to take on a social role and play an active part in promoting its country during a time of global challenge. Twenty talented contemporary Italian photographers have been called upon to collaborate in the project, many famous, others emerging talents: each of them has succeeded in interpreting one of the twenty regions along with twenty Lamborghinis, from the past and present, in their own artistic style. And joining these artists is the great photographer Letizia Battaglia, who has been entrusted with a special interpretation of her beloved Palermo. The result is a journey conceived of as an act of love, the love of a company for its own country, translated into a fresco of 21 visions that succeed in exalting a single heritage of identity, steeped in art, history, natural and architectural beauty, and much more. An Italy that is also a land of tradition, excellence, creativity, aesthetic research and innovation, all features that are deeply embedded within the Lamborghini DNA. It is a book that entrusts culture and the art of photography with their highest and deepest value: that of transforming society through the breaking up of all previous expressive languages and the ability to imagine and inspire the future. The photographers involved in the project are: Letizia Battaglia (Palermo), Stefano Guindani (Sicily), Davide De Martis (Sardinia), Guido Taroni (Calabria), Gabriele Micalizzi (Puglia), Camilla Ferrari (Basilicata), Marco Casino (Campania), Roselena Ramistella (Molise), Valentina Sommariva (Abruzzo), Anna di Prospero (Lazio), Wolfango Spaccarelli (the Marche), Alessandro Cinque (Umbria), Gabriele Galimberti (Tuscany), Piero Gemelli (Emilia Romagna), Marco Valmarana (the Veneto), Mattia Balsamini (Friuli Venezia Giulia), Simone Bramante (Trentino Alto Adige), Vincenzo Grillo (Lombardy), Chiara Mirelli (Piedmont), Alberto Selvestrel (Liguria), Fulvio Bugani (Valle d'Aosta).

The spectacular shots of the award-winning photographer discovering the beauty of humanity. Jimmy Nelson: Humanity is about the renowned photographer Jimmy Nelson¿s personal and artistic journey across the world, an expedient to take people across a deeper journey of reflection on their own identity as part of the universal family of humans. His travels are similar to field expeditions, with lots of preparation and contingencies to take into account. They can last weeks, if not months. For Jimmy Nelson, traveling is part of his artistic process, epitomizing a resolute search into what it means to be human, deeply, at the core of our shared origins from one same source in the African continent. In the process, he has reconnected with his own deeper self and has realized that humanity is all one. In Jimmy Nelson: Humanity, the photographer is passionate to share why he is obsessively searching for a form of art that can embrace what he experiences in the field, when he finds alignment with the people, nature, light; a sense of balance that creates a symphony of experiences that analogue photography, in the form of the giant 10x8 negatives, gets close to express and that allows him to funnel all the emotions that he wants to record visually, in just one instant. Through his spectacular shots, Jimmy Nelson¿s journey becomes our journey and indigenous peoples, normally photographed as an ethnographic subject, become the protagonists of a story of ¿unadulterated beauty¿ that empowers the beholders to perceive all humanity.

As an initiative by the Kinda Foundation for Contemporary Arab Art, Objects of Imagination is a unique collaboration of nearly forty artists from across the Arab World, in which both traditional and innovative techniques were used to create a body of ceramic artworks. Over the course of nine months, the Kinda Foundation invited a group of Arab artists to a dedicated ceramic workshop in Amman, Jordan, supervised by Delair Saad Shaker and Waleed R. Qaisi. The artists each created four artworks in a variety of techniques, often pushing their practice beyond traditional painting. Using the same base of a large earthenware plate, 52 cm in diameter, the techniques range from drawing with oxides and painting with underglaze to carving, relief and sculpture. Each plate was glazed and fired at a temperature of 1020°C. Throughout the project, the creative process was fully documented for the Kinda Foundation archive. Although originally conceived as a revival of functional Arab ceramic tradition, the results of this experiment are startlingly diverse, despite many of the artists¿ lack of experience in making ceramics. Without practical restrictions, the creative freedom that they enjoyed was further enhanced by the collective experience, which clearly demonstrates the impressive scope of unlimited artistic imagination in these works.

Hannah Villiger (1951-1997) was an extraordinary voice in late twentieth-century contemporary art, but her oeuvre came to an abrupt end with her untimely death. She became known above all for her photographic work based on the body. This publication traces a path from the sculptures she created in the 1970s and her little-known drawings to the black-and-white photographs and works with the Polaroid camera that Villiger started making in the 1980s. These fragmentary close-ups of her own body were enlarged via an internegative and mounted on aluminium, either individually or assembled into space-related blocks. The results were radical pictorial inventions that made a unique contribution to the artistic exploration of the self and are still relevant today. This volume presents the latest research on Hannah Villiger's work, featuring contributions by renowned authors and curators: Yasmin Afschar (co-editor), Emily Butler, Stefanie Manthey, Aïcha Revellat, Madeleine Schuppli (co-editor), Agnieszka Sosnowska, Wolfgang Ullrich; as well as artists and contemporaries of Villiger whose statements provide a personal and refined understanding of her work: Rut Himmelsbach, Daniela Keiser, Claudia and Julia Müller, Katja Schenker, Jürg Stäuble, Beat Streuli. Themes such as the female body, self-image and its perception by others, fluid identities, the fragmentation of the physical body, as well as psychological and aesthetic aspects of the human skin are addressed. This monograph is part of the series initiated by Muzeum Susch and Skira editore dedicated to the rediscovery of women artists who have been neglected by the main discourses and canons of art history.

Photographer Richard Avedon, with a more than six-decade-long career, produced innovative and delightful work in fashion, as well as incisive and captivating portraits. Over the course of his lifetime he worked with a number of models and a wide range of portrait subjects, creating a powerful body of pictures that allow his viewers to study the likenesses of actors, ballet dancers, celebrities, civil rights activists, heads of state, inventors, musicians, visual artists and writers. Avedon offers viewers the opportunity to study faces without crossing any socially imposed boundaries about staring too long; he encourages viewers to think about the people before them, the lives they have lived, their private personalities and public personas, their struggles, accomplishments, disappointments, and joys. Richard Avedon. Relationships presents a selection of 100 iconic fashion photographs and portraits, from the extensive collection at the Center for Creative Photography, to delve into his approach to photographing people. Avedon¿s combination of talent and skill, technical proficiency and attuning to his individual subjects, allowed him to make portraits that are riveting presentations of the people he photographed. Indeed, he achieved mastery of the portraiture form. Avedon had the opportunity to photograph a number of his portrait subjects on more than one occasion. Within the catalogue it is possible to see painter Jasper Johns in 1965 and 1976; novelist Carson McCullers in 1956 and 1958; the Beatles Andy Warhol, Marilyn Monroe, and poet Allen Ginsberg in 1963 and 1970. Perhaps the most dramatic and powerful example of Avedon¿s ongoing photographic relationship is that with his friend and collaborator, Truman Capote.

On the Move features three different groups of nomadic or semi-nomadic pastoralists in three vastly different regions ¿ the Central Sahara in Africa, the Arabian Gulf and the Central Eurasian steppes ¿ highlighting crosscutting themes relevant to contemporary concerns about the human condition and our planetary future. The book shares lessons we might learn from the ways of pastoral nomads, such as living lightly on the land and working creatively with and through the sometimes challenging natural environments within which they move and know intimately. Themes under exploration include mobility and self-sufficiency; materialism, consumerism and environmental destruction; the potency of experience-based knowledge both practical and richly imaginative; and how the concepts we use affect our appreciation of cultural differences. The book seeks to highlight the gap between the ways these groups see and understand themselves and the stereotypes - both negative and romantic - by which outsiders (from travellers and architects to ecologists and state officials) have represented them or sought either to appropriate or to control and change them. Working against tendencies to view such groups as timeless or remnants of the past, this exhibit follows a historical approach, juxtaposing different historical periods to show how the pastoralists¿ ways of living and possibilities for flourishing have been affected by both environmental and political forces, specifically from key ruptures of the past century. At the same time, it suggests that we have much to learn from the pastoralist way of life.

The Asian continent today acts as a theatre to some of the most rapid changes in the urban environment ever to occur anywhere in the world. As cities--and economies--expand at an almost immeasurable pace, Asian architects face new challenges and opportunities. Through interviews, conversations, and visits to architecture studios across the continent, Instant Asia documents the most recent built projects of the emerging generation of designers shaping the architectural identity of Asia today. Includes an international cast of contributors--Taro Igarashi (an architectural critic and professor in Tokyo), Jiang Jun (an editor of Urban China magazine, Beijing), and Kayoko Ota (a curator in Rotterdam)--who focus on the heavily urbanized region of Southeast Asia to investigate novel forms of urbanism, offer a mix of theoretical perspective and present a panoramic view of the cultures, societies, and politics of Asian cities.

This book brings together the best of Japanese graphic design in the posters that accompanied Japan from the 1964 Tokyo Olympics to the creation of the Issey Miyake logo, and from the Osaka Expo to the official poster for the Pan-Pacific Design Congress. Ken¿ya Hara was born in the province of Okyama in 1958. After graduating from the Department of Design at Musashino Art University in 1981 and obtaining his M.A. in 1983, he joined the Nippon Design Center where he established the Hara Design Institute in 1992. Yusaku Kamekura was born in Kanbara in 1915. He is considered to be the figure who contributed most to the spread of Japanese graphic design in the post-WWII period. He graduated with a degree in architecture and industrial arts in 1933; in 1940, he became the director of Nippon Kobo and in 1949 he was appointed artistic director of the magazine Commerce Japan. His most important designs, including the posters for the 1964 Olympic Games, the 1970 Osaka Expo, the Hiroshima Appeals, and the logo for the Nippon Telegraph and Telephone Corporation, all made a significant contribution to increasing his fame. Shin Matsunaga was born in 1940 in Tokyo. After graduating in 1964 from the department of design at Tokyo National University of Fine Arts and Music, he joined the advertising division at Shiseido. He designed the PEACE ¿86 poster and curated all the graphic design for the Sezon Museum of Modern Art. He also designed the symbol and official poster for the 1989 Pan-Pacific Design Congress, the human rights poster commemorating the 200th anniversary of the French Revolution, the medal for Mint¿s 120th anniversary, the logo for Issey Miyake and RHIGA Royal Hotels, and the package design for the French cigarette brand Gitanes Blondes (1995). Film director and art director Nagi Noda was born in Tokyo and made a name for herself as one of the most important young Japanese designers. She first achieved fame as an art director, designing publicity for the print media and graphics for publishing and the music industry, before working for bigger clients such as Nike and the Laforet Harajuku department stores. Ikko Tanaka was born in 1930 in Nara. In 1950, at just 19 years old, he graduated from the Kyoto City School of Fine Arts (now the Kyoto University of Arts) and immediately afterwards started working for companies such as the Kanegafuchi textiles company and the Sankei Shinbun daily newspaper. He designed the signage and medals for the 1964 Tokyo Olympics and the pavilion dedicated to Japanese history at the 1970 Osaka Expo.

Model, photographer, muse, the first female war correspondent to report the horrors of the concentration camps liberated by American troops, and twentieth-century icon. Lee Miller was all this and much more. She went through life with passion and determination and life repaid her with love and friends, but also with pain and posthumous, or at least tardy, acknowledgement. Through approximately 140 photographs by Lee Miller and Man Ray, some objects d'art and video documents, loaned by Lee Miller Archives and Fondazione Marconi, Lee Miller. Man Ray. Fashion - Love - War intends to do justice to this woman as beautiful as she was clever and talented, taking her out of Man Ray's overpowering shadow, to reveal a deep but complicated relationship more objectively: Man Ray, first her teacher, then lover, and in the end friend. Published on the occasion of the exhibition in Venice, the volume pays suitable homage to Lee Miller, pioneer of surrealism in photography, placing her on a par with Man Ray, whose work tended to overshadow her both during her lifetime and after. The heart of the project lies the relationship between Lee Miller and Man Ray - which blossomed in Paris in 1929 and ended in 1932 - with a focus on their lives, careers and relationships at that time; it also documents the effect they both had on each other and how it inspired their work, including the photographic solarisation technique Man Ray adopted to the point that shots by Miller were erroneously attributed to Ray. The volume also presents portraits by Man Ray of friends and important protagonists of the artistic period: Max Ernst, Pablo Picasso, Giorgio de Chirico, Jean Cocteau, Salvador Dalí and surrealist shots of Lee Miller in which he seeks to investigate and reveal her soul and torments.

A selection of masterpieces from one of the most prestigious private collections in the world.One of the most important private art collections in the world, the Emil Bührle Collection occupies a prominent place in the museum-quality group of Impressionist and Post-Impressionist works that forms its core and which in this volume is represented by masterpieces by Manet, Degas, Renoir, Monet, Cézanne, Gauguin, Van Gogh and others.The works, published in colour and accompanied by commentaries by authoritative art historians, illustrate the principles according to which Bührle built his extraordinary collection: on the one hand, the desire to relate modern art with the highest results of European painting in previous centuries - of which the masterpieces by Canaletto, Strozzi, Delacroix and Corot are the spokesmen - on the other hand, the choice to document in an exhaustive way the path of the protagonists of modern art, such as Manet, Degas, Van Gogh and Cézanne, whose phases of artistic production is proposed a partial review.Exemplary in this sense is the presence of works by Claude Monet: from the landscape painteden plein air Champ de coquelicots près de Vétheuil (1879 circa) to the revolution of Le Bassin aux nymphéas, reflets verts (1920-1926), the catalogue emphasises Monet¿s importance not only as a reference figure for the Impressionist movement, but also as a source of inspiration for later generations of artists.

The significant body of work that Carol Rhodes has produced over the past twenty five years assimilates and moves beyond two major critical impasses for modern painting: photography and pure abstraction. Rhodes makes small-scale paintings depicting, from aerial viewpoints, encounters between the natural environment and human intervention, fictional syntheses resulting from a re-mixing of photographic sources. Finding beauty in deserted and apparently alienating places, her paintings allow us to contemplate our own relationship to the world around us. Carol Rhodes was born in Edinburgh in 1959 and spent her early years in India. She returned to Scotland to study at Glasgow School of Art. She has lived and worked in Glasgow ever since, and has played an important role in the cultural life of that city.

Benetton¿s story is a rather anomalous one. It arises from the dream of an industrialist ¿ who has never made cars but pullovers ¿ to race his cars in the Formula 1. It was a dream that became a reality in an extraordinarily effective manner. A phenomenon, a unique and probably unrepeatable event which overturned the parameters of the world of Grand Prix. Today, Luciano Benetton can look back with pride and mull over how good his team was during those 19 years on the track, first as sponsor and then as constructor, and remember the figures who took part in the adventure, recalling the major events in each season and the numerous drivers, at the top of which was Michael Schumacher, who was unknown when first hired.