"Ghenie's meditation on the idea of hooliganism, examining the role of rebellion in the artistic process, is applied here towards an excavation of art history and European history." -Art Observed This book documents a selection of works by artist Adrian Ghenie (born 1977) included in his exhibition The Hooligans. The artist's newest body of work, these nine paintings and three drawings continue Ghenie's exploration of abstracting figures, layering shapes and gestural painting techniques to create complex images intertwined with art historical narratives. Influenced by Impressionist painters, as well as Turner, Van Gogh and Gauguin, this new body of work documents Ghenie's exploration of abstracting figures, layering shapes and using gestural painting techniques to create complex images intertwined with art historical narratives. Ghenie's meditation on the idea of "hooliganism" examines the role of rebellion in an artist's process, working to reject or ignore traditionalism to create the new. An art historical text by Apsara DiQuinzio traces the trajectory of Ghenie's practice through to today. In her new text, Masha Tupitsyn discusses the concept of the double, looking at its history in philosophy, literature, film and art.

Particularly since his spectacular exhibition in the Romanian Pavilion at the 56th Venice Biennale in 2015, Ghenie (born 1977) has been celebrated as one of the most interesting and unconventional painters of his generation. The history of the "century of humiliation" (as he refers to the 20th century), and its perpetrators and victims, are the predominant sources for his collage-like compositions. These subjects are juxtaposed with heroes such as Van Gogh and Darwin, as well as depictions of himself.

At least since his spectacular exhibition in the Romanian Pavilion at the 56th Venice Biennale in 2015, Adrian Ghenie (*1977 in Baia Mare, Romania) has been known to the broad public as one of the most interesting and unconventional painters of his generation. His works--painted in oils that have been scratched, applied with a palette knife, or thrown onto the canvas--have already gained entry into the collections of the Metropolitan Museum of Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris, and have achieved one auction record after another in the art market. Yet neither Ghenie's subjects nor his technique cater to the taste of the public: the history of the 'century of humiliation' --which is how Ghenie refers to the twentieth century--its perpetrators and victims are the most important sources for his collage-like compositions. These subjects are joined by his positive heroes alike, such as Van Gogh and Darwin, and time after time, his self portrait

Exploring the evolution of Agnes Martin's sublime use of color This handsomely designed, concise volume celebrates Agnes Martin's pursuit of beauty, happiness and innocence in her nonobjective art created while living in the desert of New Mexico. From her multicolored striped works to compositions of color-washed bands defined by hand-drawn lines, to the deep gray Black Paintings that characterized her work in the late 1980s, Martin's treatment of color in each of these phases is examined. A particular emphasis is placed on the latter half of her career and the broadening vision that developed during her years working in the desert, which crystalized her quest to deepen her understanding of the essence of painting, unattached to emotion or subject, yet radiant and meditative in its pure abstraction. With editorial contributions by a selection of writers whose cross-genre works span art writing, essay and memoir, this book expands an approach to Martin's paintings beyond a purely art historical lens, bringing new voices into the conversations around her career, inviting a rediscovery of her enduring legacy. An essay by author Durga Chew-Bose provides a poetic exploration of color; the writer Olivia Laing (author of The Lonely City) discusses the nature of solitude in her text; and Bruce Hainley uses a 1974 essay by Jill Johnston as a jumping-off point to delve into Martin's life during her years in New Mexico.

* Mothmeister's second book, more unearthly than the first* Extremely popular Belgian duo whose work combines taxidermy, photography and a love for the lurid and the otherworldly* Their first book, Weird and Wonderful Post-Mortem Fairy Tales (2018), sold out, and is out of print* "Their eerie photos of human-animal hybrids walking wonderfully surreal landscapes thumb their noses at traditional beauty standards." - VICEIn Dark & Dystopian Post-Mortem Fairy Tales, Mothmeister pays homage to the muses who have sparked their alienating dream world. From artists worldwide, legendary figures, their collection of taxidermy to lurid places where their figures were born, such as the catacombs of Palermo, Pyramiden or the disaster area around Chernobyl. A special fairy tale world that flirts with the morbid, religious and grotesque and in which stuffed animals are brought back to life in an extraordinary way.

A groundbreaking look at the life and art of one of the most influential, modern painters of the late nineteenth century and founder of the Impressionist movement “Wullschläger emerges with a strikingly different picture of the artist. Passionate, prickly, edgy and unstable, her Monet, the unrecognizable Monet, is a powerful new character in art.” —The Sunday Times (London) Drawing on thousands of never-before-translated letters and unpublished sources, this biography reveals dramatic new information about the life and work of one of the late nineteenth century’s most important painters. Despite being mocked at the beginning of his career, and living hand to mouth, Monet risked all to pursue his vision, and his early work along the banks of the Seine in the 1860s and ’70s would come to be revered as Impressionism. In the following decades, he emerged as its celebrated leader in one of the most exciting cultural moments in Paris, before withdrawing to his house and garden to paint the late Water Lilies, which were ignored during his lifetime and would later have a major influence on all twentieth-century painters both figurative and abstract. This is the first time we see the turbulent life of this volatile and voracious man, who was as obsessed by his love affairs as he was by nature. He changed his art decisively three times when the woman at the center of his life changed; Wullschläger brings these unknown, passionate, and passionately committed women to the foreground. Monet's closest friend was Prime Minister Georges Clemenceau; strong intellectual currents connected him to writers from Zola to Proust, as well as to his friends Manet, Renoir, and Pissarro. Brilliant and absorbing, this biography will forever change our understanding of Monet's life and work.

Ghenie's works--painted in oils sometimes applied with a palette knife or thrown onto the canvas--have already gained entry into the collections of the Metropolitan Museum of Art, Tate Modern and the Centre Pompidou, and have achieved one auction record after another in the art market. Yet neither Ghenie's subjects nor his technique cater to public taste.lic taste.

Artistic duo Mothmeister have created a place they call "Wounderland". It is a land in which grotesque creatures, in fascinating yet disturbing masks, stare out from barren wastelands, usually accompanied by mounted and stuffed animals. Unconventional and enchanting, the fairytale world of Mothmeister is at once reminiscent of a bygone age, while subtly criticising today's ever-present 'selfie' culture, and the beauty standards imposed by the media. Superlative and unique, the works of Mothmeister are celebrated and revered in this stunning book. AUTHOR: Mothmeister is the ever-changing alter ego of two artistic soulmates and passionate taxidermy enthusiasts. SELLING POINTS: * A stunning, surreal collections of works, celebrating Mothmeister, a taxidermy-obsessed artistic duo * Mothmeister boasts over 130,000 followers on Instagram and has participated in several international exhibitions * Countless eccentric portraits, as well as a unique glimpse behind the mask 240 colour, 30 b/w images

Monograph on Romanian painter Adrian Ghenie featuring seventy key works from the last four years. While Ghenie continues to explore the darker moments of European history, his compositions have become conspicuously more complex over the years as he has turned increasingly toward a brighter and more colorful palette, masterfully shifting between graphicness and abstraction.

An unprecedented catalogue exploring the formal and visual affinities and contrasts between Josef Albers and Giorgio Morandi—two of modern art’s greatest painters. Rarely seen together, the artworks of Josef Albers (1888–1976) and Giorgio Morandi (1890–1964) share many similarities. Although they never met, both artists worked in series as they explored difference and potential through their distinctive treatment of color, shape, form, and morphology. They were also both influenced by Cezanne. As master illusionists and experts in proportion, they tackled similar conceits from different perspectives. Albers focused on the effects of subtle or bold changes and interactions in color, while Morandi made still lifes that treat simple objects as a cast of characters on a stage, exploring their relationship in space. Published on the occasion of the critically acclaimed exhibition Albers and Morandi: Never Finished at David Zwirner New York in 2021, the book illuminates the visual conversation between these two artists. With the exhibition hailed by The New Yorker’s Peter Schjeldahl as “one of the best … I’ve ever seen,” this publication brings this unusual, thought-provoking pairing to your home. Gorgeous reproductions are accompanied by a roundtable about form and color between the exhibition’s curator, David Leiber; Heinz Liesbrock, the director of the Josef Albers Museum Quadrat Bottrop; and Nicholas Fox Weber, the executive director of The Josef and Anni Albers Foundation, as well as an essay by Laura Mattioli, the Morandi expert and founder of the Center for Italian Modern Art.