Flying Freelance Portrayer. Purveyor, chronicler and archivist of exquisite photographic peculiarities. Carmen De Vos is a slow photographer. She registers, portrays and invents odd stories. She shoots Polaroids to frame those mental escapades, which get so easily out of hand. She yearns for what she’s afraid to lose: genuine human contact, the slowness of being and creating, the tangibility of materials. She uses, almost without exception, old Polaroid cameras, long expired film and self-made filters. Her tools and methods – such as film bleaching and deliberate film obstruction – are not precise and are not even geared towards a perfect representation. They often yield results like colourization, deformation or unsharpness – results she could never have predicted beforehand with any degree of certainty, because these flaws do not allow for calculation. She’s not in control. She fights the material. She plans, stages and directs, but the decaying chemistry of the film and the out-of-focus lenses add their magic all by themselves. That leads to either pleasant surprises or ruined images. This battle attracts her as much as it frustrates her. She loves to create within these limitations, to try to produce the best possible image within the narrow circumstances. Luckily, she’s a sucker for imperfections.

Gisbert Stach’s (b. 1963) monograph Jewellery and Experiment presents a multifaceted opus from twenty-five years of gold- and silversmithing. In his oeuvre the primarily conceptual artist combines jewellery with video, photography and performance. One focus of his work deals with processes of transformation and experiment – pieces disappear through chemical dissolution, and form is determined by agencies of growth in nature. Stach works with means of alienation and irritation. Ground amber serves as pigment, which he works into jewellery pieces in the form of fish fingers, sliced bread or schnitzel. A further characteristic of his work is the performative act, for example when brooches are pelted with knives.

Gisbert Stach is represented in numerous museums and collections, including Die Neue Sammlung – The Design Museum, Munich (DE); Fondazione Cominelli, Brescia (IT); Museo de Arte Moderno, Tarragona (ES); Museum of Arts & Crafts, Itami (JP); Gallery of Art, Legnica (PL); Museum of Bohemian Paradise, Turnov (CZ); Amber Museum, Gdansk (PL).

Published to accompany exhibitions at Arnoldsche Art Publishers, Stuttgart (DE), 9-11 November 2018, and Bayerischer Kunstgewerbeverein (BKV), Munich (DE) 28 February-24 March 2019.

Text in English and German.

With Impulses, the Gold and Silversmith’s Craft Trust in Schwäbisch Gmünd celebrates its thirtieth anniversary. The book documents the Trust’s extensive achievements and shows highlights from publications, workshops and exhibitions. The main focus lies on the detailed presentation of the sixteen goldsmiths in residence. In 1989 the Trust was the very first German institution to appoint a City Goldsmith and continued to do so every two years. Famous artists like Max Fröhlich, Norman Weber and Deganit Stern Shocken are among the award winners. The outstanding setup of the exemplary works allows new perspectives on the diverse artistic expressions in gold and silver. Text in English and German. Contents: Prologue; TimeSignals; Lectures; Competitions; Exhibitions; Black Box; Karfunkelschein; Workshops; Meetings; Hammerclub; die Stadtgoldschmiede; Max Fröhlich; Nikolaus Kirchner; Johann Müllerperth; Klaus Dieter Eichler; Marianne Schliwinski; Walter Storr; Deganit Stern Schocken; Berthold Hoffmann; Bettina Menrad-Maier; Brigitte Moser; Ulrike Knab; Petra Dömling; Norman Weber; Peter Bauhuis; Paul de Vries; Simone ten Hompel.

This book represents the first monograph on modern Norwegian photography from the 1970s to the present. It traces recent developments taking place in the four movements in photography: Subjectivism, Abstraction, Post-Modernism and Photorealism. Subjectivism reigned supreme in Norwegian photography until well into the 1980s. It was rooted in the principles that a photograph could not lie and had to reproduce reality. The early 1990s ushered in the dawn of Post-Modernism in Norwegian art. Photographs were no longer viewed as mirroring reality but rather as works whose meaning was context-related. The result of this shift in focus was an array of new possibilities for expression and new themes.

The present book also shows the influences Norwegian artists and photographers from other countries exerted on each other, a tendency that also shows up in the many Norwegian photographers active internationally. After being overshadowed for decades by other art forms, photography now plays a major role on the international art scene (galleries, art fairs, public institutions, collectors).

Justyna Koeke transforms children’s fantasies into wearable sculptures, morphs fashion shows into performances. As a child the artist, together with her sisters, painted her heroes “princesses and saints” which she now translates into reality as a collection of vibrantly colourful outfits full of whimsical detail. These tailored fantasies are brought to life on the bodies of ladies of advanced years. The publication presents the entire project: from the child-like naive drawings, via photographs of the dressed-up models before the sterile backdrop of their retirement home, to fun-loving fashion shows – an equally humorous and critical approach to the correlation of childhood dreams and the reality of getting older, in which the unsolved issues of an increasingly ageing society invariably resonate. The art project, which fluctuates between sculpture, performance and allusions to the fashion world, was presented, among other places, at the Alternative Berlin Fashion Week.

Text in English and German.

Ulla and Martin Kaufmann have developed their aesthetic agenda together. The techniques used by gold and silversmiths are the focal point of their work and represent the basic thematic focus of their tableware, jewellery and cutlery. It rests on their exploratory approach to materials and the diverse possibilities it provides for expression. Ulla and Martin Kaufmann have been working in their own studio in Hildesheim for nearly forty years. The two artists have thus acquired unique skills over years of experience especially the knowledge of the properties of silver and gold, their materials of choice. This profound knowledge is an essential part of the indissoluble union of design and execution. The connotations are always dual: the form of objects stems from practical considerations; is, therefore, close to ideas of functional design. At the same time, individual expression born of the artists’ mastery of their craft and their exacting aesthetic standards surrounds these pieces with the aura of works of art. This book reveals the secrets and beauty of the stunning pieces made by Ulla and Martin Kaufmann. In showcasing these objects, it establishes their aesthetic permanence as timelessly practical works. Text in English & German.

Vessel | Sculpture refers to the direction studio pottery has taken since the mid-20th century, developing from primarily functional vessels to artistically designed vessels, ceramic sculpture, installation and conceptual art. The aim is to trace the history of how ceramics has evolved and developed into an autonomous art medium, which is continually self-renewing. Focused on the GRASSI Museum’s collection of contemporary ceramic work since 1946 when Germany was divided into East and West after the World War II, this book provides a fascinating and instructive overview of developments and trends in the two Germanys. Moreover, a broad-ranging selection of works by ceramicists now active in both the new and the old Federal German states is supplemented by contemporary pieces from all over the world. The publication is devoted to one-off pieces and limited editions from the past six decades. Reproductions in large formats of approximately four hundred selected objects are accompanied by biographies of as many artists and their signatures. Text in English & German.

Artists include: Gordon Baldwin, Richard Bampi, Hedwig Bollhagen, Jan Bontjes van Beek, Hans Cooper, Dieter Crumbiegel, Anne Currier, Ruth Duckworth, Karl Fulle, Walter Gebauer, Ewen Henderson, Gerd Knäpper, Maria Teresa Kuczynska, Beate Kuhn, Bernard Leach, Heidi Manthey, Sonngard Marcks, Gertraud Möhwald, Colin Pearson, Walter Popp, Gilbert Portanier, Renée Reichenbach, Lucie Rie, Antje Scharfe, Karl Scheid, Ursula Scheid, Tatsuzo Shimaoka, Alev Siesbye, Bärbel Thoelke, Jindra Viková, and many more.

Winfried Krüger (born 1944) belongs to that generation of jewellery artists who witnessed the birth of avant-garde jewellery in the 1960s. The skilled goldsmith liberated himself from precision, fineness and other virtues of his craft in order to allow free rein to his creativity. For Krüger jewellery is ever-present. From the tread of a shoe via the launch pad of a firework to the set of a science fiction film – he finds inspiration in all of these things. Translated into metal, extraordinary artworks are then created, which in the examination of ideas, form, materiality and surface show a modern, innovative understanding of jewellery, which he has imparted to his students over twenty years as lecturer at the technical college for design in Pforzheim. Despite this, Winfried Krüger has, as far as publishing his work is concerned, played hard to get. For the very first time this monograph presents the artist’s work in a comprehensive retrospective, whose focus rests on the work from the last twenty years. Winfried Krüger is represented in numerous prestigious museums and collections, including Schmuckmuseum Pforzheim (DE), Designmuseo, Helsinki (FI), Museum für Kunst und Gewerbe Hamburg (DE), Stedelijk Museum’s-Hertogenbosch (NL), Musée des Beaux Arts de Montréal (CAN), Die Neue Sammlung – The International Design Museum Munich (DE), Galerie Marzee, Nijmegen (NL), Musée de design et d’arts appliqués contemporains, Lausanne (CH). Text in English and German.

Jewellery and the universe are bound together not just in the Ancient Greek sense of the word ‘cosmos’; the sun, moon and stars invariably also found their way into representative forms of art jewellery around the world. While magical, mythological and religious references stood mainly at the forefront of ancient and non-European cultures, over the course of recent history it was on decorative grounds that jewellery pieces with cosmic motifs became so coveted. Whether Köchert in Vienna, Fabergé in St Petersburg or Lalique in Paris, the great jewellers of the nineteenth and twentieth centuries were all inspired by heavenly forms. Today, interest in celestial bodies remains unbroken among contemporary internationally celebrated jewellery artists. With his new, richly illustrated book, the long-standing head of the Jewellery Museum Pforzheim presents for the first time a comprehensive review on the star motif in jewellery – from Ancient Egypt to the present day.

Text in English and German.

Open Space – Mind Maps pursues the current development in art jewellery that is positioned far from the merely decorative in the aesthetic and artistic discourse of our era. Thirty international artists present their works in this publication, which is arranged thematically by the buzzwords inhabiting current trends, such as the nomadic aspect and the tendency towards narrative imagery to provocation that infringes on boundaries and to the poetic imagination in jewellery. All these facets as open-ended chapters illustrate the iconographic focus of each of these protagonists from across the world. Contents: Berndt Arell: Foreword; Ellen Maurer Zilioli: Open Space – Mind Maps. Positions in contemporary jewellery; Inger Wästberg: The Swedish Perspective; Philip Warkander: Art Jewellery. A reflection on terminology; Catalogue; Appendix; Artists’ biographies; Authors’ biographies

The influence that the home has on the personal life of its inhabitant is much greater than one realises.

This fantastic new title focuses on 24 new developments in China that focus on how good interior design can be utilised to create a more comfortable and fulfilling life for its inhabitants.

Each development has its own individually-themed chapter lavishly illustrated with stunning images. Each section includes various details about the type of home that has been created; everything from the type of furniture and decoration used and the architectural plans to a short description of the effects that this choice of decor can have on your wellbeing.

Structural Packaging Art has it all wrapped up, literally! Presenting the most innovative and imaginative graphic designs and technical constructions using paper and cardboard to promote a range of products from snacks to stationery, to teabags and truffles. All are designed to create a unique identity and brand within a highly competitive consumer market, colourful and eye-catching, quirky and desirable these wrappings are about first impressions with the focus on presenting each item as a ‘gift’ to be purchased, then savoured and enjoyed as an essential feature of the whole product experience.

The Ashmolean Museum and the Albertina are collaborating on a two-part exhibition project that will examine anew the role and the significance of drawing in Raphael’s career.  The Ashmolean holds the greatest collection of Raphael drawings in the world, and the Albertina is the custodian of a major collection including some of the most beautiful and important of the artist’s sketches. Taken together, the two collections provide extraordinary resources that, amplified by carefully-selected international loans, will allow us to transform our understanding of the art of Raphael.  

The Oxford exhibition is based on new research by Dr Catherine Whistler of the Ashmolean Museum and Dr Ben Thomas from the University of Kent, in collaboration with Dr Achim Gnann of the Albertina.  It will take Raphael’s art of drawing as its focus, with the concept of eloquence as its underlying structure. Oratory runs as a linking thread in Raphael’s drawings, which stand out for the importance given to the study of gestures, facial expressions, and drapery.  Moreover, Raphael treated the expressive figure of the orator – poet, philosopher, muse, apostle, saint or sibyl – in fascinating and significant ways throughout his life.

This selection of drawings demonstrates how Raphael created a specific mode of visual invention and persuasive communication through drawing.  He used drawing both as conceptual art (including brainstorming sheets) and as a practice based on attentive observation (such as drawing from the posed model).  Yet Raphael’s drawings also reveal how the process of drawing in itself, with its gestural rhythms and spontaneity, can be a form of thought, generating new ideas. The Oxford exhibition will present drawings that span Raphael’s entire career, encompassing many of his major projects and exploring his visual language from inventive ideas to full compositions. The extraordinary range of drawings by Raphael in the Ashmolean and the Albertina, enhanced by appropriate loans, will enable this exhibition to cast new light on this familiar artist, transforming our understanding of Raphael’s art.   

This book preluded a major exhibition, which ran  from 1 June to 3 October 2017, with a range of events happening throughout this time.

“I was walking up the Miami Beach boardwalk to the Fontainebleau Hotel where Sinatra was staying… I just reached out with the letter in my hand and he took it. He opened it, read it… turned to his security men and said, “this kid’s with me.” I never found out what Ava said to him in that letter. From that moment on, I was part of his inner circle.” – Terry O’Neill

From The Beatles to the Rolling Stones, Terry O’Neill fast became the photographer of the 1960s. Having an eye – and ear – for music and musicians, he instinctively knew what bands to focus on. And they in turn trusted him. “I remember sitting in a pub with the Beatles and the Stones. We were just hanging-out and talking about what we’d do next, after all of this was over. By this, we meant the fame, being the ‘new kids of the moment’. Usually, this sort of celebrity doesn’t last. Little did we know that 60 years later, we’d still be at it.” Music lead O’Neill to Hollywood and working with stars resulted not only in to memorable moments but long-lasting friendships. He travelled with Frank Sinatra. Took Raquel Welch to the beach. Went in the ring with Ali. Put The Who in a cage.

O’Neill captured many of the most unforgettable faces from the frontline of fame, and his photographs exude his own brand of serene simplicity, intimate behind-the-scene moments and the rare quality of trust between photographer and subject. The list of people Terry O’Neill has worked with over the past 60 years is a Who’s Who in celebrity; from film to music, sports to politics. Terry O’Neill: Every Picture Tells a Story is like going through a walking tour of memory by a man who has seen, met and photographed them all. Also available by Terry O’Neill: Terry O’Neill’s Rock ‘n’ Roll Album ISBN 9781851497720 Terry O’Neill ISBN 9781851496921 Two Days That Rocked The World ISBN 9781851498062 Breaking Stones ISBN 9781851498161

“People just have to accept me the way I am. And I actually love myself now. I have learned to appreciate inner beauty more, even in other people. So I am trying to be proud of what is in my heart. ” Flavia, Uganda.

Ann-Christine Woehrl visited survivors of fire and acid attacks in Bangladesh, Cambodia, India, Nepal, Pakistan and Uganda. In her portraits she does not present them as tragic victims, but as the personalities they have always been and still are despite their unimaginable suffering. The result is an insightful ‘almost private’ album, that challenges and most of all inspires. It is an homage to women that master their unique lives with humility and heroic strength.

After the photographer had accompanied the 25-year-old Neehaari in India for ten days, Neehaari took off her veil, which she was wearing constantly to protect herself from being stared at in the streets, and said: Today is my personal day of independence. I will stop hiding myself.

By choosing a neutral black background for the portraits in the first part of the book, the photographer left out any reference to the social environment of these women and provided them with a safe and also special – even solemn – frame. In the second part of the book she takes a closer look at one survivor in each of the six countries capturing her everyday life, her will to survive, moments of hopelessness and despair as well as those of joy and happiness. The photographic work is framed by an essay and six interviews with the six women.

Text in English and German.

Contents: In/Visible; We Are Visible; My Name Is Farida; My Name Is Neehaari; My Name Is Chantheoun; My Name Is Renuka; My Name Is Nusrat; My Name Is Flavia.

“Fascinating details of the original pictures and a social history of footwear fashion” VOGUE
In acclaimed photographer Lois Lammerhuber’s pictures, shod feet in the Louvre paintings reveal undreamt-of information about people. The details are not only separate works of art, but also studies on centuries of shoe fashion and an excursion into social history. Almost intimate, the photographs raise the world of feet and footwear to eye level, showing delicate shoes and stout limbs; feet without shoes and shoes without feet. The viewing angle is a special one, not only for art enthusiasts but also for shoe lovers. Raphael, Goya, or Ingres did not produce or design footwear, but they all ‘recorded’ shoes, contributing to a history of footwear and at the same time creating fashion archives of shoes that people stepped out in between 1280 and 1863. In a brilliant discourse, Margo Glantz, an icon of Mexican literary studies, introduces the viewer to original thoughts on painting and footwear design, the history and sociology of shoes. Text in English, German, French & Spanish.

The 25th anniversary of the UN Convention on the Rights of the Child is a good reason to put the topic emphatically into the public focus. UNICEF Germany and GEO with the support of the world’s best photographers and Edition Lammerhuber do exactly that in this joint pro-bono project. In 40 photographic reports from 15 years, a selection of particularly striking pictures from the UNICEF Photo of the Year competition forms a fervent appeal to respect the rights of the child and to guarantee every girl and boy in the world a childhood in dignity. The volume is edited by Jürgen Heraeus, the Chairman of the German Committee of UNICEF, and Peter-Matthias Gaede, long-serving Editor-in-Chief of GEO. We the Children draws attention to the suffering and hardships, but also to the wishes and dreams of today’s children. We the Children is a book full of hope for a child-oriented world. Text in English and German.

Marc Held entered history in 1965 with his famous Culbuto armchair, followed in 1966 by his furniture manufactured by Prisunic. Over a period of fifty years, he created some 150 furniture pieces, notably participating in 1983 in the interior design of the apartments in the Élysée Palace. Beginning in the 1970s, he also designed singular works of architecture, for individuals and for corporate clients such as IBM. At the end of the 1980s he chose to focus entirely on this passion of his when he settled on the Greek island of Skopelos. Interested in vernacular architecture, he dedicated a widely acknowledged book on Greece, Maisons de Skopelos, précis d’architecture vernaculaire published by Éditions Skopelos.net, in 1994, to it. It was also on Skopelos where over a period of thirty years he built eight exceptional villas: Lemonia, Maistros, Nina, Loukas, The Temple, Mourtia, Myrto and Kapsari. Each house is an architectural manifesto in its own right. These eight villas, in spectacular sites beside the sea, built with local materials and in accordance with the construction techniques of the island – all the artisans were from there – with the magical landscapes in which they are integrated, are eight lessons on the notion of genius loci, which so inspired Marc Held’s architecture. Photographed by Deidi von Schaewen – with spectacular shots taken via drone-mounted cameras – his eight beautiful villas are also presented with his drawings and plans developed during their conception phases. Text in English and French.

111 Places for Kids in Chicago That You Must Not Miss is not your typical kid-centred guide to Chicago: Step off the beaten tourist path, lace up your gym shoes and get ready to set off on 111 adventures across Chicagoland. Feed a giraffe; kiss a beluga; find a ghost; descend into an energy portal; see (and smell!) a corpse flower in bloom. Learn how soap is made; meet a million dollars and more. If you’re looking for out-of-the-box family adventures, this is the guide for you.

Around 1900, a small group of influential patrons, critics, writers, and artists turned Weimar into a utopian centre of modern art and thought. Several artists and writers sought to create a ‘New Weimar’ and position Friedrich Nietzsche at its head, as the radical prophet of modernity.

In 1902, two years after the philosopher’s death, Max Klinger was commissioned to carve Nietzsche’s portrait where his cult was organised. Starting from a heavily reworked death mask, Klinger executed the famous marble herm that still today adorns the reception room of the Nietzsche Archive. Only three monumental bronze versions were cast, one of which is now in the collection of the National Gallery of Canada. With this sculpture in focus, accompanied by a series of paintings, drawings, plaster casts, and small bronzes, Radical Modernism will show how Klinger and his patrons invented the ‘official’ Nietzsche, transforming a highly expressionist portrait into an idealised classical cult image. The exhibition and this catalogue will also include a comprehensive series of early editions of Nietzsche’s most influential books and will bring together work by the other protagonists of the ‘New Weimar’, in order to shed light on this extraordinary artistic and cultural constellation of modernism for the first time in North America.

Published to accompany an exhibition at the National Gallery of Canada, Ottawa – 18 April – 25 August 2019.