Böcker utgivna av Skira

Emma McClendon is associate curator of Costume of MFIT.

Victoria Noel-Johnson is an art curator and historian specialised in early 20th-century Italian art. Recognised as one of the greatest experts of Giorgio de Chirico¿s painting, from 2008 to 2017 she was the scientific curator at the Fondazione Giorgio e Isa de Chirico, where she managed the art collection and international exhibition programme for the Foundation.

This is the first English-language volume on Marinot (1882-1960), a pioneer in the development of glass as a studio art form.

Here, photographs by British photojournalist James Hill document the three studios of Georgian-Russian artist Tsereteli in Moscow, Paris and New York. These photographs offer a more personal perspective of an artist known for his sometimes-controversial monumental sculptures and paintings.

The works by visual artist and filmmaker Hito Steyerl (Munich, 1966), one of the most influential cultural figures of our time.Steyerl's works are critical reflections on the digital and contemporary age and focus on the pervasive role of technology and the circulation of images in the globalized world. Her installations, which encompass film and visual art, are immersive architectural environments that seek to establish the way in which technology and Artificial Intelligence shape reality and how it is experienced. This catalogue accompanies the exhibition The City of Broken Windows at Castello di Rivoli and features previously unpublished essays by Carolyn Christov-Bakargiev and Marianna Vecellio, the exhibition's curators, and by the feminist art historian Griselda Pollock. It also contains two new texts by the artist entitled The City of Broken Windows (2018) and The City of Unbroken Windows (2018), published here for the first time, and her important essay In Defense of the Poor Image (2009). Richly complemented by an extensive selection of images from the exhibition, the book includes an exhaustive scholarly chronology of the artist's exhibitions, screenings, and lectures and an anthology of critical essays and interviews from 1998 to the present, authored by Anna Altman, Manuela Ammer, Julieta Aranda, Marius Babias, Camila Bechelany, Jochen Becker, Franco "Bifo" Berardi, Fred Camper, Lauren Cornell, T. J. Demos, Thomas Elsaesser, Harun Farocki, João Fernandes, Alwin Franke, Lynn Hershman Leeson, Marvin Jordan, Ann Kaneko, Heinz Kersten, Adam Kleinman, Brian Kuan Wood, Pablo Lafuente, Gil Leung, Maria Lind, Sven Lütticken, Anja Osswald, Trevor Paglen, Laura Poitras, Bert Rebhandl, Isabella Reicher, David Riff, Daniel Rourke, Berta Sichel, Roberta Smith, Kerstin Stakemeier, Anton Vidokle, and Reinhard W. Wolf.

Marta Gnyp is a Dutch art historian at the University of Amsterdam with an international business background. She is also a collector of contemporary art, art advisor, and contributing art editor for several international magazines. With Skira she recently published You, Me and Art: Artists in the 21st Century (2018). Alex Bacon is a Curatorial Associate at the Princeton University Art Museum. He is an art historian based in New York City who regularly writes criticism and organizes exhibitions of both contemporary and historical art.

This catalog examines the career of Norwegian sculptor Vigeland--one of Norway's most celebrated 20th-century sculptors, known for his large-scale figurative works--situating him alongside such contemporaries as Antoine-Louis Barye, Constantin Meunier, Auguste Rodin, Aristide Maillol and Antoine Bourdelle.Bourdelle.

The horse has been represented in the history of art by almost every culture in every time period. In 1969, Jannis Kounellis (member of the Italian art movement Arte Povera) brought twelve living horses inside a gallery in Rome, creating a very reinterpreted image of the horse in an art context. Lara Nickel¿s homage is comprised of twelve life-size, realistic paintings of horses, positioned on the ground and installed perpendicularly to the wall. Presented in this non-traditional way, the images of horses appear to be standing in the room, making the architecture itself the setting of the paintings. Nickel¿s 12 Horses ¿ Homage to Jannis Kounellis uses painting as a sculptural intervention, inviting the audience to physically engage with the artwork. Using Kounellis¿ original piece as an art historical reference, Nickel¿s paintings are not only portraits of horses but painting-as-illusion, painting-as-object, and painting-as-situation.

Francesco Bonami is a renowned Italian art curator and writer who directed the Venice Biennale in 2003 and curated the Whitney Biennial in 2010. He is currently the Artistic Director of Fondazione Sandretto ReRebaudengo in Turin. David Campany is a writer, curator of exhibitions and an artist. He has published several books on photography, cinema and art, and over a hundred essays. Venus Lau is a curator and writer based in Shanghai and Shenzhen, where she is artistic director of OCT Contemporary Art Terminal. She won the Chinese Contemporary Art Award jury¿s prize with her proposal to rethink strategies of institutional critique within a Chinese context while exploring the links between ontology and objecthood in art.

Describing 26 of Hildegard's religious visions in text and a series of 35 miniature illustrations, this series narrates the journey of the humanity in Eve's womb, represented as bright stars, as it joins with the stars in the sky: a possibility offered to each soul, to return back to the Light.

Francesca Pola is a contemporary art historian, critic and curator. Since 2003 he has been Professor of History of Contemporary Art at the IES, the Institute for the International Education of Students in Chicago (Milan office).

In the first book to focus on Nordic conceptual art, Norwegian art critic R¿ed argues that artworks are entangled in collective histories. In closely examining conceptual artworks, R¿ed illustrates how works of art can be used to understand the past. the past.

Exhibitions were Joanna Drew's life. She began her impressive career at the Arts Council of Great Britain in 1952 and during the next forty years organised an extraordinarily diverse range of exhibitions across time and cultures, from prehistoric art to contemporary art, folk art and high art, the 150 exhibitions she made for the Arts Council (and, later, the Hayward Gallery) included the sensational Picasso exhibition held at the Tate Gallery in 1960 - the world's first blockbuster show - and other landmark exhibitions at the Tate and at the Victoria and Albert Museum, the Royal Academy, the ICA and elsewhere in London and the UK. Between 1975 and 1992 Joanna Drew was successively Director of Exhibitions and Director of Art at the Arts Council and finally Director of the Hayward Gallery, which had become the leading UK venue for thematic exhibitions of western and non-western art and monographic exhibitions from Matisse (1968) and Anthony Caro (1969), through Renoir (1985) and Leonardo da Vinci (1989) to Toulouse-Lautrec (1990) and Bridget Riley (1969 and 1992). Much of Caroline Hancock's account of Joanna Drew's life and work is drawn from memories of her colleagues, contemporaries and friends. It also features Joanna Drew's own perspective on exhibition making - and her recollections of working with Picasso, Miró, Max Ernst, Jean Arp, Henry Moore, Claes Oldenburg and many other artists - as voiced in her extensive interviews for the British Library's National Life Stories, made in 2002. Interspersing the main narrative are tributes from some of the people who worked alongside her.

This book surveys the landscape of Jane Benson's acute, yet lyrical practice, forging a trajectory through the past decade as she splits, fractures and skews archetypal structures into poignant re-assemblies. It is Benson's first major monograph, pon the occasion of her survey exhibition at the Contemporary Arts Center in Cincinnati. Notions of creation and destruction may seem diametrically opposed, but their uneasy, yet generative exchange has re-shaped the face of both art and the world it reflects. With a delicate, but poignant approach to dismantling and rebuilding, Benson has conducted a systematic campaign of deconstruction since the beginning of her career. Seeking to better reflect the multiple facets of the self as well as families separated by war, travel and trade, her amalgams forge a nascent place for renewal, plurality and gathering. This book surveys work from the past fifteen years of Benson's practice, discussing installations, video, drawing, sculpture and performances that regenerate familiar objects, texts and settings into vexing new formations. A primary example is her series The Splits (2011- ongoing), which features a number of string instruments hand-cut down the center so they could be re-connected in a more exploratory and collaborative manner by way of performers in locations near and far. She employed this concept to create metaphorical bridges for an exiled family from Iraq to renew connections via shared musical dialogue and flags from their many countries, shredded and woven together. Along with drawings made by repeated turns of her split instruments, fleshy self-portraits made by blindly rubbing her own body, precariously balanced still lifes, unabashedly fake faux flora and a series of excised texts that transform book pages into musical scores, Benson cobbles fertile new forms from the fractures of old.

The island of Palawan, the fifth largest of the Philippines archipelago, is home to an extraordinary natural treasure, one of the underground wonders of our planet. The Puerto Princesa Underground River was once named after the mountain of Saint Paul, that covers the whole length of the river, and it is known by local people as Natuturingan Cave. It is located on the western coast of the island, 50 kilometres north-west of the capital, Puerto Princesa. Mount Saint Paul is just over 1,000 metres high, the karst area is fairly limited, yet the caves that runs through it over three dimensions is tens of kilometres long, and is today the longest cave of the archipelago.The cave and the surrounding area became a national park in 1971, and in 1999 it was declared a UNESCO World Heritage Site. In 2012 it was included on the list of the "New7Wonders of Nature". In its chambers immersed in the silence of time are delicate mineralisations and speleothems of moving beauty, true treasures of crystal: some very rare, others even unique in the world. The underground river is indeed an extraordinary place in many respects: biology, mineralogy, hydrodynamics. And it is simply beautiful. The extraordinary body of photographs produced by La Venta during the explorations along the Puerto Princesa Underground River is the absolute protagonist of this book, which is accompanied by narrative and scientific texts that will guide the reader through this wondrous discovery.

Filippo Maggia is photography curator at the Fondazione Sandretto Re Rebaudengo in Turin and since 2015 has collaborated with Sky Arte HD, acting as consultant for the Master of Photography in 2016 and 2017.

Valerie Steele, one of the foremost fashion historians and curators, is the director and chief curator of MFIT since 2003. Authors: Patricia Mears (deputy director); Tanya Mel¿ez-Escalante (senior curator of education); Colleen Hill (curator of costume and accessories); Melissa Marra (associate curator of education); Emma McClendon (associate curator of costume); Elizabeth Way (assistant curator of costume); Michelle McVicker (collections and education assistant); Kimberly Ackert (founder of Ackert Architects, responsible for exhibition design.

The exceptional edition, in only 145 copies, was the first publication of the new-born Skira, and was soon followed by the Poems of Mallarmé with 29 original etchings by Henri Matisse and Les Chants de Maldoror illustrated by Salvador Dalí with 42 etchings. For the 90th anniversary of the publishing house, Skira issued an anastatic copy of the work, slightly different in format and in agreement with the Picasso Estate. The volume boasts 412 pages including the etchings (15) both in and outside the text (15). The facsimile is perfect. The volume is in 24 x 30.5 cm format. It is a hardcover edition with paper foil stamping, just like the first edition in 1931. The work is contained in a box that, with the Métamorphoses , also bears an illustrated insert in English narrating the birth and history of this legendary volume. Ovid's Métamorphoses in 11,995 verses and 15 books gather and re-elaborate over 250 Greek myths. It has been called an "encyclopaedia of classical mythology". Picasso's etchings out of the text, focused on 15 myths, are of rare uniformity, in a style with clean edges and discrete eroticism. Instead, the etchings found at the start of the chapters do not relate to the text and portray faces, nude studies and a delightful litotes of the female body (27th etching).

William J. Glackens's (1870-1938) keen interest in the work of Pierre-Auguste Renoir (1841-1919) has long been recognized, but Glackens's specific debt to the art of this important French modernist has not been fully explored. In bringing together more than 30 works by each of these two important modernists for the first time, William Glackens and Pierre-Auguste Renoir: Affinities and Distinctions fills this void. It demonstrates Glackens's response to Renoir's Impressionist work (1860-mid-1880s), which was avidly purchased by a wide variety of American collectors, including Albert C. Barnes, who sent Glackens, his friend and colleague, to Paris in 1912 to purchase works for his then fledgling collection. Glackens was the only American artist who subsequently had nearly carte blanche access to Barnes' increasingly important collection of American and European modern art that included work by Paul Cézanne, Henri Matisse, and Pablo Picasso, among others, and numerous examples of Renoir's late-style (1890-1919). The exhibition defines Glackens's late style (c.1925-1938) for the first time, its affinities and distinctions from Renoir's work, and how it emerges from Glackens's familiarity with works specific exhibitions in New York, and the art he saw in Italy in 1926, and in Barnes' collection, while shedding new light on the history of taste in American collecting from the late-nineteenth to the mid-twentieth century.

Salima Hashmi is a renowned artist, writer, curator, educator and human rights activist, based in Lahore. Rosa Maria Falvo is an accomplished writer, editor and curator specializing in Asia-Pacific and Middle East contemporary art, based in Milan.

A new publication in the series "Le Stanze del Vetro", a project for the study and enhancement of Venetian glassmaking in the 20th century, from a collaboration between the Fondazione Cini and Pentagram Stiftung. This volume accompanies the fall exhibition in Venice dedicated to the history of master glassmaker Muranesi Cappellin & C. (which Giacomo Cappellin founded after breaking with Paolo Venini and the V.S.M. Cappellin Venini & C.) to become one of the most important glass companies thanks also to its collaboration with a young architect, Carlo Scarpa. The vast production ranges from transparent glass to milky glass with gold, or glass paste and cased glass, or Phoenician decorations and figures, animals and plants; plus important lighting works. The entire output of Cappellin is documented (open from 1925 to 1931), placing the spotlight above all on the contribution of the major architect and glass designer Carlo Scarpa, his work during the 1920s and his relations with the arts. The book also discusses the production and exhibitions of Cappellin in Paris and the United States, relations established with artists in Turin and its very unique glass productions. Edited by Marino Barovier, this volume includes the catalogue of the complete works by Carlo Scarpa for Cappellin and is an indispensible tool for collectors, scholars and art dealers.

The Royal Institute of British Architects (RIBA) was founded in London in 1834 for the advancement of architecture and began assembling its collection of architectural photographs from the outset. It is now one of the largest in the world. The present book brings together a carefully selected set of images out of the many thousands the Institute holds of the city of Rome, from its landscape to close archaeological detail, through the intermediate scale of architecture. Apart from some professionals who worked for the Architectural Press, the photographers featured - James Anderson, Tim Benton, Richard Bryant, Ralph Deakin, Ivy and Ivor de Wolfe, Richard Pare, Monica Pidgeon and Edwin Smith - are exclusively British. Their images date from the birth of the medium to the present day. In the book, scholars and experts with different backgrounds tackle a difficult, interdisciplinary subject, moving back and forth between architecture and the visual arts. Marco Iuliano gives an overview of the project and introduces architectural photography in Rome, while Gabriella Musto reflects on the historical perception of the Vittoriano and its contemporary role; Richard Pare furnishes a scholarly analysis of the origins of photography in Rome, whilst Owen Hopkins and François Penz respectively consider the impact of the city on the imagination of British architects and filmmakers. Valeria Carullo explores the richness of the RIBA photographs collection prior to the catalogue section, which is complemented by essays by Paolo Mascilli Migliorini, Nicholas Ray, Antonello Alici, Carla Molinari and Tom True. A detailed bibliography by Jemma Street closes the book.

Anna Beselin, art historian and textile restorer, is Senior Carpet and Textile conservator at the Museum of Islamic Art in Berlin.