Tag: Koenig Books

Amelie von Wulffen
Bilder / Works 1998-2016

A monograph on Amelie von Wulffen is long overdue. For more than twenty years, the artist has developed a formal and stylistically wide-ranging work (collages, installation works, animation films, drawings, sculptures and painting), which is reflected in its content persistence. Amelie von Wulffen takes a clear account of the German (cultural) history in the precipitation of the private and personal, and argues as an invaluable chronicler of repression. The biting humor that permeates her work does not stop at a human low ground, though not always as directly as in her drawings and comics. The texts of this richly illustrated monograph examine Wulffen’s contribution to the painting discourse, Psychoanalytic aspects and show the painter as a role model for a young generation of artists. Amelie von Wulffen, born in Breitenbrunn in 1966, lives and works in Berlin.

Texts by Manfred Hermes, Bernhart Schwenk, Amy Sillman
Edited by Isabel Podeschwa, Bernhart Schwenk, Joe Scotland, Amelie von Wulffen

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John Miller
I Stand, I Fall

The publication I Stand, I Fall, a comprehensive survey of work by John Miller, coincides with the first American museum exhibition dedicated to the influential conceptual artist.

Through almost 150 images, this catalogue comprehensively traces Miller’s use of the figure throughout his career in order to incisively comment on the status of art and life in American culture.

The book features a range of media, including painting, sculpture, drawing, photography, installation and video; never-before-seen works from the 1980s; new large-scale sculptures; and the artistʼs most ambitious architectural installation to date – a vast and immersive mirrored labyrinth that went on view at the ICA Miami’s Atrium Gallery.

I Stand, I Fall, surveys Miller’s use of the figure in order to examine themes of citizenship and politics, and the conventions of realism in contemporary art.

Organized chronologically, the exhibition begins with his drawings and paintings from 1982-1983, the majority of which have never been presented publicly.

Influenced by the pastoral genre of painting and American social realism of the 1920s and 30s, these deadpan, even grotesque, works explore issues of urban and suburban Americana, public space, and the human

Published retrospectively after the exhibition John Miller: I Stand, I Fall at Institute of Contemporary Art, Miami, 18 February – 12 June 2016.

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Lee Bontecou

 

Since the 1960s, American artist Lee Bontecou has been internationally praised for her intriguing sculptures and installations. The rich, organic shapes of her sculptures seem to originate from a mysterious universe in which manʼs fears and desires are condensed.

Recently the artist created Sandbox, a new installation in which she combines elements from her work from the 1960s to the present.

A picture essay by Joan Banach, artist and friend of Bontecou, focuses on the genesis of Sandbox and maps the rich network of Bontecouʼs inspirations: pictures range from extracts from geological and historical books to images of works by old masters. The beautiful, detailed photographs were taken at the artistʼs studio.

This publication also shows Bontecouʼs sketchbooks and the inspirational ʻwall of drawingsʼ in her studio. It is an intimate insight into the creative process of the artist.

Published on the occasion of the exhibition at Gemeentemuseum Den Haag, The Hague, Netherlands, 25 February – 2 July 2017.

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John Latham
A World View

John Latham (1921 – 2006) is widely considered a pioneer of British conceptual art.

His multifaceted practice encompasses sculpture, installation, painting, film, land art, engineering, found-object, assemblage, performance happenings and theoretical writings, the diversity of which is galvanised by his unique understanding of our place in the universe.

This publication traces the trajectory of Latham’s practice and brings together archival material, including documentary photographs, texts, correspondence and various ephemera, in order to build a picture of the artist’s life and work. Latham saw the artist as holding up a mirror to society: an individual whose dissent from the norm could lead to a profound reconfiguration of reality as we know it.

Latham has been associated with several national and international artistic movements, including the first phase of conceptual art in the 1960s. He was an important contributor to the Destruction in Art Symposium of 1966, and also a co-founding member of the Artist Placement Group APG (1966-89).

The Serpentine Gallery exhibition (and this accompanying catalogue) spans Latham’s career to include his iconic spray and roller paintings; his one-second drawings; films such as Erth (1971), and Latham’s monumental work, Five Sisters (1976) from his Scottish Office placement with APG.

Texts by Rita Donagh, Amira Gad, Richard Hamilton, Katherine Jackson, Elisa Kay, Adam Kleinman, Noa Latham, Hans Ulrich Obrist, Yana Peel, Cally Spooner, Barbara Steveni, David Toop.

Published on the occasion of the exhibition, A World View: John Latham at Serpentine Gallery, London, 2 March – 21 May 2017.

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