Charles Saatchi's collection of young British artists is one of the most celebrated collections of contemporary art in the world. 'But is it art?' was a frequent cry during the mid-90s, when he exhibited the works of artists such as Damien Hirst, Marc Quinn, Gavin Turk and Marcus Harvey. Artists such as these soon fulfilled their promise and consolidated their reputations, vindicating Saatchi's enthusiasm and their inclusion in this eclectic group. The book explores the ideas, aspirations and attitudes that inform each artist and the way that they are manifested in the end product. This publication, long out of print, remains an essential record of 35 artists that were collected by Charles Saatchi during the 1990s and is being reprinted to celebrate the opening of the new Saatchi Gallery later this year.
The book explores the ideas, aspirations and attitudes that inform each artist and the way that they are manifested in the end product.
This publication, long out of print, remains an essential record of 35 artists that were collected by Charles Saatchi during the 1990s and is being reprinted to celebrate the opening of the new Saatchi Gallery later this year.
'Art today makes approaches towards the unknowable... artists reflect something both psychological and social off that gaze, something that may hint at the face the future will present. In this activity artist and critic are linked in an intimate collaboration. The artist makes unverifiable hypotheses or intuitive proposals about the unknown, and the critic drives out into the verbal open their networks of implications.' Thomas McEvilley, 'Father the void' in 'Tyne International: a new necessity' 1990, p.133.
The name of this book is derived from Damien Hirst's extraordinary sculpture, 'The Physical Impossibility of Death in the Mind of Someone Living, ' 1992, a fourteen-foot tiger shark suspended in a tank of formaldehyde. It is appropriate that Hirst should introduce this anthology, since he was responsible for making visible many of the artists included in these pages and, in many people's minds, has come to epitomize the wild boy whose shock tactics and cool media manner give art a high profile and a bad name. His presence emphatically colours the 20water.
In 1988 while still a student at Goldsmiths', Hirst organized 'Freeze, ' an exhibition that included sixteen of his fellow students. This marked the beginning of a vital period of optimism and enthusiasm. The recession provided a plentiful supply of empty factories, warehouses and offices and young artists seized the initiative, raised funds and mounted further shows such as 'Modern Medicine' and 'Gambler' in these dramatic spaces.
Charles Saatchi had been collecting their work and bought Hirst's first major piece, 'A Thousand Years, ' with its rotting cow's head and flies. Support of this kind is of incalculable value; it sustains energy and optimism. Whereas struggling in a vacuum is soul-destroying, the prospect of having one's work enter a major collection provides both a goal and a context; it generates hope. Damien Hirst's shark swam into view in the first show of Young British Artists mounted at the Saatchi Gallery in 1992 and attracted unprecedented media attention.
At first sight there seem to be few links between the thirty-five artists represented in this book. What possible preoccupations could be shared by a minimalist painter and a pickler of sharks? In writing about them, the author was determined not to impose artificial groupings. Despite their work being lumped together under the rubric of 'conceptualism, ' often by those hostile to it, these artists do not form a group or a school. Many of them studied at Goldsmiths' and some are friends, but others have never met or even heard of one another. Kerry Stewart graduated only recently, Jenny Saville lives in Scotland, Carina Weidle has returned to Brazil and, although most of the others live in London, it is a big city. There is no cafe society or artists' meeting place and these people do not form a cosy coterie.

Die Ausstellung im Suermondt-Ludwig-Museum zeigt die Entwürfe des Meisters in ihrer ursprünglichen Form, so wie er sie bei der Arbeit vor Augen hatte. Dabei darf man nicht vergessen, dass das gedruckte Werk stets die gespiegelte Wiedergabe der ursprünglichen Komposition auf der Kupferplatte ist. Nicht selten verändert sich dadurch die Wirkung entscheidend. Auch wenn sich jeder Grafiker dessen bewusst ist, so bleibt die Frage, wie weit dies im Einzelfall berücksichtigt wird. Beim Großteil der so genannten Reproduktionsgrafik, also der drucktechnischen Vervielfältigung etwa von Gemälden, finden sich Seitenverkehrungen, und das selbst dann, wenn dieser Prozess von den Schöpfern der umzusetzenden Werke genau überwacht wurde, wie im Falle Rubens. Technische Möglichkeiten für seitenrichtige Reproduktionen hatte man durchaus, wie etwa Marcantonio Raimondis frühere Stiche nach Raffael zeigen. Exhibition: Suermont-Ludwig Museum, Aachen (12.11.2011-5.2.2012).

Confessions of a connoisseur: Insiders' tips on how the design art market really works "Art is about life, the art market is about money." --Damien Hirst

Whether you're an art fan, aficionado, or collector, this completely unique book should be on your required reading list. Like a textbook for a class given by all of the world's leading experts, Collecting Contemporary Art is the one and only book to teach you everything you ever wanted to know about the contemporary art market. The introduction explains the ABCs of buying art on the primary and secondary markets, at auction, and at art fairs and gives an overview of the world art scene and its social circles. The main body of the book brings together tell-all interviews with the biggest players in the global art market: the Critic (Rimanelli), the Dealer (Boesky, Brunnet/Hackert, Coles, Deitch, Fortes, Gagosian, Gladstone, Glimcher, Hetzler, Lybke, Perrotin, Rosen, Shave, Wirth), the Consultant (Cortez, Fletcher, Heller, Segalot, Westreich), the Collector (Brant, Broad, Habsburg, Joannou, Lambert, Lehmann, Lopez, Paz, Pinault, Rothschild Foundation, Saatchi), the Auction House Expert (Cappellazzo, de Pury, Meyer), and the Museum Curator/Director (Dennison, Eccles, Heiss, Lowry, Peyton-Jones).

Rounding up the book are chapters on the year in art collecting--giving a timeline of the most important annual auctions, exhibitions, fairs, etc. around the world--as well as a glossary of terms every art savvy player should know. The text is illustrated by the work of the hottest artists in today's market, including Matthew Barney, Jean-Michel Basquiat, Damien Hirst, Mike Kelley, Martin Kippenberger, Jeff Koons, Takashi Murakami, Richard Serra, Cindy Sherman, Andy Warhol, Lisa Yuskavage, and many more.

All in all, these elements add up to the equivalent of an invaluable and privileged real-world collector's education--all between the covers of one book.

Essays geschreven ter gelegenheid van de expositie die Komrij samenstelde op basis van de schilderijen die lagen opgeslagen in de kelders van het Stedelijk museum Amsterdam. Toelichting op zijn selectie. Over kijken naar kunst, kunstkritiek, de ontwikkeling van beeldende kunst en literatuur.

Museum Catharijneconvent in Utrecht commissioned the Tilburg artist Marc Mulders (1958) to make a stained-glass window for the large staircase of the museum. Mulders was inspired for this commission by the Apocalypse of the Revelation of John, the last book of the Bible. The depiction, built up from various layers, is a feast for the eyes - a powerful and intriguing interplay of colours, forms and quotations. Daan van Speybroeck has been following Mulders' work for many years and describes the iconography of the window and its place in the artist's oeuvre. Mulders previously made a stained glass window for Amsterdam's Nieuwe Kerk (New Church) which Queen Beatrix received to commemorate her Silver Jubilee. With the Apocalypse by Marc Mulders, the Museum Catharijneconvent has aquired both a work of art and a statement at the same time. Text in English and Dutch.

Rembrandt van Rijn's paintings made him the star of the seventeenth-century Dutch golden age, but he was also an extraordinarily productive and original printmaker. In more than 300 known etchings, he covered the full range of subjects and styles for which he is celebrated, including self-portraits, scenes from the Bible, landscapes, vignettes of everyday life and character studies. Each of his prints is both a beautiful work in itself and an X-ray of the strategies of composition and scene-setting that went into his paintings. Rembrandt as Printmaker presents 69 of Rembrandt's finest prints from The British Museum, which is widely considered to hold the world's broadest collection. It is published on the occasion of the four-hundred-year anniversary of the artist's birth.

Geschiedenis, techniek, stijlkenmerken en achtergronden van het oosterse tapijt.

Catalogus bij een expositie met beeldend werk van kunstenaars uit Nederland en België, waarin iedere kunstenaar uitdrukking gegeven heeft aan de persoonlijke beleving van religie.

Written by the son of artist Greg Hildebrandt, this volume is a behind-the-scenes look at the work of two premier fantasy artists and a treasury of Tolkien art. Includes all the paintings from the bestselling 1976, 1977, and 1978 "Lord of the Rings Calendars". 197 illustrations, 122 in color.

This book is the first to trace the evolution in style of the fabulous homes that have been built on the island of Sicily, from feudal castles to city mansions and country villas.

Verzameling van honderd iconen rond evenzovele thema's en onderwerpen, vergezeld van een beschrijvende tekst.

Western art has evolved through a wide, range of styles, each characterized by its own unique philosophy and masterpieces. This series is a visual tribute to these formative movements in Western art and the artists and forces that created them. An elegant style characterized by ornamental, sinuous lines, Art Nouveau created a unity between the fine arts, the applied arts, architecture, and decoration of all types. Here is a stunning visual celebration of the art and artists of this movement.

Discovery of a so far unknown painting that might be a Van Gogh: Two Spitters or two diggers, and the difficulties to convince the so-called establishment of the Van Gogh museum and associated experts of the valitdity of this find.

De schilderijen en prenten op de expositie Aardse paradijzen, de tuin in de Nederlandse kunst van de 15 de tot en met de 18 de eeuw geven een ideaalbeeld: ze laten zien hoe men zich de tuin in het beste geval voorstelde. De schilderijen en prenten, voor het grootste gedeelte uit de zeventiende eeuw, zijn de dromen van de doe-het-zelver. Ze bieden het ultieme uitzicht op de eigen schepping, onder ideale weersomstandigheden. Uit de hele zeventiende- en achttiende eeuw is geen enkel tuin-schilderij bekend waarop het regent of sneeuwt. Nooit treft men er dode bomen, verwelkte bloemen, doorgeschoten buxushagen, onkruid of andere tuinders-nachtmerries aan. De schilders en tekenaars gaven een beeld van het landgoed zoals de trotse eigenaar en opdrachtgever het graag zag: een omheinde heerlijkheid, gelegen in een landelijke omgeving, ver weg van de drukke stad. Niets is onmogelijk. Tropische vogels houden van Holland; zeilen in een vijver is heel gewoon.

Verschenen bij gelegenheid van de tentoonstelling Aardse Paradijzen. De tuin in de Nederlandse kunst I, 15de tot 18de eeuw, van 16 mei tot 25 augustus 1996 in het Noordbrabants Museum, 's-Hertogenbosch en van 14 september tot 24 november in het Frans Halsmuseum, Haarlem.

Catalogus van een tentoonstelling over de kunst en levensstijl van de Indonesische vorstenhoven vanaf de eerste Nederlands-Indonesische contacten (16e-17e eeuw) tot na de Tweede Wereldoorlog.

Poging inzicht te bieden in de problematiek van de kunstwaardering door een aantal aspecten van de problematiek ieder afzonderlijk in zijn historisch perspectief te behandelen.

Enth. u.a. (S. 169-171): Rede Meret Oppenheims anlässlich der Übergabe des Kunstpreises der Stadt Basel 1974 am 16. Januar 1975.

By the end of the 16th century, Europe, Africa, and Asia were connected to North and South America via a vast network of complex trade routes. This led, in turn, to dynamic cultural exchanges between these continents and a proliferation of diverse art forms in Latin America. This monumental book transcends geographic boundaries and explores the history of the confluence of styles, materials, and techniques among Europe, Africa, Asia, and the Americas through the end of the colonial era--a period marked by the independence movements, the formation of national states, and the rise of academic art. Written by distinguished international scholars, essays cover a full range of topics, including city planning, iconography in painting and sculpture, East-West connections, the power of images, and the role of the artist. Beautifully illustrated with some three hundred works--many published for the first time--this book presents a spectacular selection of decorative arts, textiles, silver, sculpture, painting, and furniture. Scholarly entries on each of the works highlight the various cultural influences and differences throughout this vast region. This groundbreaking book also includes an illustrated chronology, informative maps, and an exhaustive bibliography and is sure to set a new standard in the field of Latin American studies. --Publisher description.