Thanks to a series of important exhibitions, the American artist (1948–1999), who understood himself not as a sculptor but more as a painter and draughtsman, has received the attention of a growing audience since the early nineties.

 

 

 

 

 

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  • Ein abstraktes Gemälde einer industriellen Szene in Grün- und Gelbtönen auf dem Buchcover von Erziehung zur Abstraktion von Heribert C. Ottersbach.
    Bestseller
    Heribert C. Ottersbach

    Heribert C. Ottersbach (*1960 in Cologne) attempts nothing less in his artistic work than a reevaluation of modernity. Using found materials and his own drawings, the painter develops his visual ideas, many of which include architectural subjects, which for him are “abstract, geometric figurations of a society disciplined by ‘education.’” Ottersbach’s depictions of architecture sometimes have ironic, sarcastic titles, such as The Rediscovery of the Bauhaus Prompted by the Spirit of the Postmodern Arbor (2002) or The New School of Athens (2002). Clearly referring to his fundamentally critical attitude toward modernity and its manifestations, the artist’s distanced, scrutinizing visual language plumbs the depths of its utopian content and its loss of meaning.

     

    Heribert C. Ottersbach: recipient of the 2007 Wilhelm Loth prize

     

    Exhibition schedule: Mathildenhöhe Darmstadt, May 11–September 7, 2008

     

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  • Das Buchcover von SURREALISM IN PARIS zeigt ein Gemälde von Salvador Dalí mit zwei springenden Tigern, die aus einem Fisch und einem Granatapfel über einer schlafenden Frau am Meer auftauchen.
    Bestseller
    Surrealism in Paris

    Surrealism arose during the period between the two World Wars and became one of the most influential artistic and literary movements of the twentieth century. Profoundly marked by the senseless experiences of World War I, the Surrealists, under the leadership of André Breton, took off “on a passionate search for freedom in all of its forms.” By incorporating the subconscious into the creative process, they developed completely new forms of expression. Simultaneously, they invented radically new ways of exhibiting their art. This presentational tradition is carried on in both private collections and public museums to this day. Featuring exemplary works by prominent Surrealists—from Salvador Dalí, Max Ernst, and Joan Miró to René Magritte, Yves Tanguy, and Meret Oppenheim—the reader will experience characteristically Surrealist modi operandi as well as Surrealist strategies. It is not only contemporary artists who find sources of inspiration and contemporary references in Surrealism. (German edition ISBN 978-3-7757-3160-7)

     

    Exhibition schedule: Fondation Beyeler, Basel / Riehen, October 2, 2011–January 29, 2012

     

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