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On the Disappearance of Italian Culture. Under the collective label SineUmbra, the artists Luisa Eugeni (b. Assisi, Italy, 1987; lives and works in Berlin) and Mattia Bonafini (b. Legnago, Italy, 1980; lives and works in Bremen) develop interdisciplinary projects that they realize as sprawling multimedia installations comprising video projections, sound, and performative elements. The point of departure for their project SOMA was Pier Paolo Pasolini's 1975 essay "Disappearance of the Fireflies," which probes the wrenching transformation that Italian society and the country's very landscapes have undergone since the 1960s. SOMAmelds performance art, the visitors' movements, geography, and psychology in a space of experience that speaks to all senses for an exploration of the impact that traumata inflicted on individuals and communities by natural disasters and social changes have on the human soul and perceptual capacities. In keeping with the artists' collective and dynamic creative vision, the catalogue embeds the multimedia installation in a context fleshed out by rich photographic documentation and numerous texts. On occasion of the master class graduate exhibition at the Bremen.

Aspects of Love. The fine art photographer Birgitta Thaysen (b. Gelsenkirchen, Germany, 1962; lives and works in Düsseldorf) studied with Bernd and Hilla Becher at the Düsseldorf Academy of Fine Arts and in Nan Hoover's master class. Her photographic oeuvre encompasses urban motifs as well as likenesses of humans. In black-and-white portrait shots, she revisits the ancient myth of Amor and Psyche; embodiments of the yearning for love and the bafflements of the soul, the title characters have long been vehicles for variegated interpretations in visual art. Thaysen chose to shoot her portraits at Künstlerverein Malkasten, Düsseldorf, where the tale is present in an adaptation as a lavishly made wallpaper from the nineteenth century. She captured the protagonists lying on the floor, bedded on cushions, their heads upside down, for a vertiginous exploration of states of mind between self-abandonment and doubt. Birgitta Thaysen studied art with Bernd and Hilla Becher at the Düsseldorf Academy of Fine Arts. Her conceptual photographic series have been seen by wide audiences in numerous exhibitions.

Painterly investigations of the present for over four decades. Jean-Marie Biwer (b. 1957, Dudelange, Luxembourg; lives and works in Basbellain, Luxembourg) has made art that records his fine-grained observations. Grappling with the grand themes of art history--the landscape, the human figure, the still life--Biwer consistently questions the role painting can play in a world shaped by a deluge of images and information. Responding to the omnipresence of the latter and reacting to the increasingly frantic pace of our lives, he creates paintings that allow the intensity of the present moment to unfold. The richly illustrated book gathers his most important works since 2005. "These things are there, we just need to look at them. They are simple, but today they have the power to bring so much to people"--Jean-Marie Biwer. Jean-Marie Biwer's work has been shown throughout Europe and in 1993 he represented Luxembourg at the 45th Biennale di Venezia. His works can be found in the Musée National d'Histoire et d'Art Luxembourg, IKOB, Museum of Contemporary Art, Eupen, and Mudam Luxembourg - Musée d'Art Moderne Grand-Duc-Jean, amongst others.

Arantxa Etcheverria's (b. 1975, France; lives and works in Bucharest) creative practice encompasses painting, sculpture, performance, photography, and film. Since 2006, she has been especially interested in modernist architecture, a ubiquitous sight in her adopted country, Romania. Blending rationalism with speculation, the artist draws on historical references including post-Communist turbo architecture, Op art, and minimalism for works that balance between figuration and abstraction, construction and deconstruction. This book documents Etcheverria's more recent panel paintings and installations, seen in interaction with actors in monochrome costumes. With essays by the Paris-based Romanian curator and critic Ami Barak and the art historian and curator Alina Serban.

The catalogue raisonné of the co-founder of American Pop Art. James Francis Gill (b. 1934 in Tahoka, Texas) is one of the most important artists of American Pop Art. His paintings, often based on photographs, provide an unusually personal approach to the icons of the 1950s and 60s. Gill suddenly became Hollywood's most celebrated artist when his Marilyn Triptych was added to the permanent collection of The Museum of Modern Art in New York in 1962--even before the works of Andy Warhol. Through friendships with celebrities such as John Wayne, Martin Luther King, and Marlon Brando, Gill became the contemporary artist-witness of an entire generation. Nevertheless, he kept his distance from the exuberant Hollywood of the time and surprisingly withdrew in 1972, only to reappear on the art market thirty years later. This catalogue raisonné in two volumes impressively documents his work from the early political motifs to the Pop Art icons of his late work. James Francis Gill first worked as a technical draftsman for an architectural firm before devoting himself entirely to art and studying painting at the University of Texas, Austin. He later taught at the University of Idaho, Moscow; the University of California, Irvine; and the University of Oregon, Eugene. His work is exhibited internationally and can be found in numerous public collections, including those of The Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; the Whitney Museum of American Art, New York; and the Museum moderner Kunst Stiftung Ludwig Wien, Vienna.

The catalogue raisonné of the co-founder of American Pop Art. James Francis Gill (b. 1934 in Tahoka, Texas) is one of the most important artists of American Pop Art. His paintings, often based on photographs, provide an unusually personal approach to the icons of the 1950s and 60s. Gill suddenly became Hollywood's most celebrated artist when his Marilyn Triptych was added to the permanent collection of The Museum of Modern Art in New York in 1962--even before the works of Andy Warhol. Through friendships with celebrities such as John Wayne, Martin Luther King, and Marlon Brando, Gill became the contemporary artist-witness of an entire generation. Nevertheless, he kept his distance from the exuberant Hollywood of the time and surprisingly withdrew in 1972, only to reappear on the art market thirty years later. This catalogue raisonné in two volumes impressively documents his work from the early political motifs to the Pop Art icons of his late work. James Francis Gill first worked as a technical draftsman for an architectural firm before devoting himself entirely to art and studying painting at the University of Texas, Austin. He later taught at the University of Idaho, Moscow; the University of California, Irvine; and the University of Oregon, Eugene. His work is exhibited internationally and can be found in numerous public collections, including those of The Museum of Modern Art, New York; the National Portrait Gallery, Washington, D.C.; the Whitney Museum of American Art, New York; and the Museum moderner Kunst Stiftung Ludwig Wien, Vienna.

A comprehensive overview on the tenth anniversary of the death of Martin Noël. Martin Noël (b. 1956, Berlin; d. 2010, Bonn) was a German painter, draftsman, and printmaker. He was one of the formative innovators of the long-neglected techniques of linocut and woodcut. With his large-format works on paper, he created a position for himself in contemporary art that is as much respected as it is independent. On the occasion of the tenth anniversary of the artist's death, this volume presents a comprehensive overview of his work from the mid-1980s to the last year of his life in 2010. Thirty-five exceptional works document Noël's path from his early years as a painter, via the middle phase marked by printing blocks, linocuts, and woodcuts, up to his late paintings. Martin Noël studied Graphics and Painting at the Rheinische Fachhochschule Köln, Cologne. His works are included in, among others, the Federal Collection of Contemporary Art, the Kunstsammlungen Chemnitz, and the collection of the Museum Pfalzgalerie Kaiserslautern.

The renowned Swiss artist and his work in its architectural setting. Smoothly painted panels laid out on the floor have earned Adrian Schiess (b. 1959, Zurich; lives and works in Mouans-Sartoux, France) international renown. His objects, which may be placed in a room as desired, are conceived as platforms of creative engagement with the appearance and disappearance of painting. They have become integral components of buildings by world-famous architects including Norman Foster, Herzog, and de Meuron. For this book, Schiess has compiled spectacular series of photographs and extensive conversations that probe the peculiar quality of his work: hybrid and fluctuating, yet always utterly distinctive. It is the first publication to put the focus on this essential aspect of his output, documenting works created between 1993 and 2018. Adrian Schiess studied at the Kunstgewerbeschule Zu¨rich and trained as a graphic designer. His works were on display at the 44th Biennale di Venezia and at documenta IX.

The future of human corporeality in the Anthropocene era. Given the technological development in biogenetics, humans will be able to make existential modifications to all living things, Nature, the animal world, and human likenesses in future. What will bodies of the future look like? Who or what will we be? Supernatural offers us some answers in its hyperrealistic and realistic sculptures. These visionary works not only exemplify the impact of the digital revolution and genetic engineering on "posthumans" and the environment, but also illustrate, including in their own hybrid creations, how increasingly blurred the line between nature and culture is now becoming. Technological innovations are also having more and more effects on trends in the latest hyperrealistic sculptures. In using 3D printing to perfect their creation processes and pushing sculptural boundaries to encompass robotics and synthetic biology, artists are opening the door to new design possibilities in artefact, biology, and technology for themselves as well. The book presents works by Anne Carnein, Isa Genzken, Glaser/Kunz, Thomas Grünfeld, Sam Jinks, Josh Kline, Kristof Kintera, Reiner Maria Matysik, Alex May and

Lebensraum of our time: contemporary landscape painting. The central theme of Heike Negenborn (b. 1964, Bad Neuenahr-Ahrweiler; lives and works in Windesheim) is the seen lebensraum. In reference to seventeenth-century Dutch landscape painting, her works stand in a specific tradition of capturing reality. With her new group of works titled Net-Scape - Landscape in Transition, Negenborn transfers art historical references into contemporary images. The artist is interested in the possibilities of media transfer and the increasing appropriation of analog reality by the digital image. The present volume provides impressive insights into the developments of the landscape painter from 2007 to 2020. Heike Negenborn studied fine arts at Austin College, Texas, Art Education at Johannes Gutenberg Universität Mainz, and Painting and Printmaking at the Akademie fu¨r Bildende Ku¨nste Mainz.

The sea as a space of artistic experience. Juergen Claus's (b. 1935, Berlin; lives and works in Aachen and Baelen, Belgium) oeuvre encompasses paintings, films, light and solar installations, and underwater art. He is also a prolific writer on art, with theoretical works that have sold over 100,000 copies. "Juergen Claus is the first one to see the ocean through an artist's rather than a scientist's lens," Michel Ragon writes. In this book, Claus intertwines his experiences working on the fascinating underwater installations with a pressing contemporary concern: the global efforts to restore the seas to health. The publication combines visual art, architecture, poetry, and music for a multifaceted engagement with the world's oceans. Juergen Claus majored in theater studies at the Universität Mu¨nchen and was a research associate at the Massachusetts Institute of Technology (MIT) and professor of media art at the Kunsthochschule fu¨r Medien Köln, Cologne.

Meaningfully meaningless. The augmented reality book for John Bock John Bock (b. 1965 in Gribbohm, lives in Berlin) is one of the most important contemporary performance and video artists. In his works characterized by humor and absurdity, the artist places language, human bodies, everyday objects, and spaces in peculiar relationships to each other. He attained international recognition with the installation LiquidityAuraAromaPortfolio at the first Berlin Biennale in 1998. Together with his work Voll die Beule from 2013, it is now included in the collection of the Kunsthalle Mannheim. The present volume not only contextualizes and documents John Bock's work, but also immerses the viewer/reader directly in his performances. When a selected page is brought into focus with the new edition-cantz app, the image begins to move. The first edition cantz book with augmented reality, in which the artist's head emerges and a filled rubber glove leaks out over the page. A completely new approach to the works of John Bock. The publication is packaged in a sock designed by the artist and includes a foreword by Johan Holten, a preface by Ulrike Widmaier Picasso, and contributions by Sebastian Baden, Jens Hoffmann, Antonella Bianca Meloni, and Marianne Wagner & Till Wyler von Ballmoos. John Bock studied at the Hamburg University of Fine Arts and since 2004 has taught at the State Academy of Fine Arts Karlsruhe as Professor of Sculpture. He has participated in the Biennale di Venezia, and his works have been featured worldwide in solo exhibitions at, among others, the Berlinische Galerie, the Contemporary Austin, Texas, the Barbican Centre, London, and the Städel Museum, Frankfurt.

This artist's book documents the artistic interventions at Caputh Castle in Potsdam, and at Collectors Room in Berlin, with work by Margret Eicher, Luzia Simons, Rebecca Stevenson, and Myriam Thyes. The works are based on the dynamically charged parallels between the present and the Baroque epoch.

Billy Al Bengston is a master of the watercolor. He has a perfect command of all the many facets of the subtle yet demanding medium which constitutes a significant proportion of his oeuvre. Many of his best works are painted with watercolors--delicate and subtle, with their radiant colors permeated by the lightness of the Californian lifestyle. Themes and motifs that also determine the painterly work gain a special expressiveness here: bizarre landscapes and opulent blossoms, fantastic celestial bodies and colorful abstractions. This opulent volume presents roughly 400 of the nearly 3,000 works of Bengston's oeuvre for the first time and demonstrates the extremely precise skill of an artist who has enriched watercolor, in combination with collage, gouache, and mixed media, with numerous new aspects.

Since the 1990's, Gabriele Basch has been working with cut-outs and translating the age-old tradition of silhouettes into an idiosyncratic and innovative language of forms. The artist interweaves creation and destruction, planning and chance into a complex, multi-layered reality and makes views into the spatial environment an integral part of her work. In her paper and foil cut-outs, foreground and background, materiality and void combine to form a whole that oscillates between painting and drawing, urban structures and hints of the biomorphic, through delicate color gradients, swirling structures, spontaneous gestures, and stenciled surfaces. This generously illustrated monograph offers a comprehensive overview of the artist's work from 2008 to 2019.

An artist's book, an artist's text. On twenty-two large-format typographic sheets, Thyra Schmidt develops a narrative featuring moments in an amorous relationship. Thoughts and encounters between her and him are captured in poetically constructed, fragmentary units of meaning. Imaginary images are conjured in the mind's eye: close-ups and intimate insights into a delicate web of interpersonal incidents. Personal observations and experiences form the starting point of this artistic exploration of love. Yet the focus of her work is not on autobiographical rendering, but rather on the tracking down of elementary structures, a general understanding of intimacy.

A review and prospect of the work of the Frankfurt-based architectural office on the occasion of its thirtieth anniversary. schneider + schumacher covers issues and values which have determined their work over the course of the thirty years since the founding of the architectural office and will continue to do so. Renowned authors shed light on the respective concepts and their significance for the history of schneider + schumacher, while the office's works are presented in large-format illustrations--including the extension to the Städel Museum in Frankfurt, the Siegerland motorway church, and the new pavilion of the Frankfurt Book Fair. In architectural practice, it becomes clear how Till Schneider, Michael Schumacher, and their team implement their thematic and theoretical orientation into their working methods, design approach, and understanding of architecture.

The largest steppe landscape in the world, the Great Steppe, stretches from Eastern Europe to East Asia across the Eurasian continent. In its center lies Kazakhstan--a country with a rich history, about which, however, very little is known. It was shaped by the nomadic peoples typical of the steppe--Saka, Huns, Turks, and Mongolians--and dates back to prehistory, some 2.5 million years ago. This opulent volume provides insight into the history and culture of the Great Steppe and Kazakhstan by documenting everything from the prehistory, the protohistory, the invasion by Genghis Khan, the Arab-Islamic period, the integration into the USSR, and the most recent epoch of growing national consciousness in an independent state. The impressive pictures are accompanied by excerpts from the book In the Stream of History by the first president of Kazakhstan, Nursultan Nazarbayev, who led the country for over thirty years.

Marx Collection: 40 Works presents selected works from the Marx Collection, making it the first publication on the collection that focuses on individual works. The selection ranges from the early 1960s to the present, encompassing one of the most exciting periods in art history. An illustrated chronicle provides background information on the historical context of the Marx Collection and its exhibition a the Nationalgalerie Berlin. Artists: Matthew Barney, Georg Baselitz, Joseph Beuys, Ross Bleckner, Francesco Clemente, Martin Disler, Rainer Fetting, Dan Flavin, Günther Förg, Peter Halley, Keith Haring, Candida Höfer, Donald Judd, Anish Kapoor, William Kentridge, Anselm Kiefer, Jeff Koons, Roy Lichtenstein, Richard Long, Gerhard Merz, Robert Rauschenberg, Ugo Rondinone, Thomas Ruff, Julian Schnabel, Cindy Sherman, Thomas Struth, Sam Taylor-Johnson, Cy Twombly, Andy Warhol, and Rachel Whiteread.

Desert-like landscapes, wastelands devoid of vegetation, animals, and people--the first series in the present volume was created in the Sahara, Iceland and on the Svalbard archipelago. Using the early photographic technique of the cyanotype, the artist transforms nature into a fascinating play of blue tones and alienated structures. Is this the earth in its original state or after the climate catastrophe? Man stands at a crossroads: can he avert the destruction of the planet, or will he transform the earth into a wasteland? This symbolic crux is juxtaposed with lively intersections in China, Japan, Russia, Israel, India, Greece, and Georgia, each of which is marked by typography. The black-and-white panoramas of urban life serve as a formal and thematic counterpoint to the abstract photographs of the first series and provide insight into the versatility of Jörg Heieck's photographic work.

Penny Hes Yassour tells stories and keeps history alive as it explores the boundary between remembering and forgetting. In her installations for the Kunst- halle Recklinghausen, the award-winning artist combines sound, image, and a multi-part world of objects into narrative mise-en-scènes of great poetic power. She leads the viewer through the Jordan Valley with its many watchtowers, accompanies the transformation of the landscape in a gigantic, stage-like water basin, follows a wildly circling flock of birds, and documents the flight of bats in a narrow, labyrinthine spatial installation. This is Penny Hes Yassour's first solo exhibition in Germany. With numerous illustrations and informative texts, the accompanying catalog provides comprehensive insights into her subtle artistic work.

John M Armleder is one of the most important contemporary artists in Europe. His extensive oeuvre includes large-scale installations, paintings, light works, and performances. The profound and the banal, control and coincidence, high culture and everyday life coalesce in Armleder's work to create a unique experience. The Swiss artist (b. 1948) is one of the most influential contemporary conceptual, performance, and object artists. His works--often humorous or ironically twisted commentaries on contemporary reality--draw on the formal repertoire of Classical Modernism, as well as on video and design, the influences of which he combines in a wide range of media. The present volume focuses on two large-scale, site-specific installations--one indoor and one outdoor--to illustrate in detail the broad spectrum of Armleder's work. By combining different media, surfaces, and materials, the artist creates spatial events which, despite their heterogeneity, have a great aesthetic effect on the viewer. The catalog is published in conjunction with the exhibition at the Schirn Kunsthalle Frankfurt (June 7 to September 1, 2019).

She Is Hope. She Is the Leader. She Is the Messiah. She Is History. She Is Fake. The video artist Yael Bartana (b. Kfar Yehezkel, Israel, 1970; lives and works in Amsterdam and Berlin) makes work that explores the visual language of identity and the politics of commemoration. The critical scrutiny of collective expectations of political or religious salvation is a central concern in her art. In the video installation "Malka Germania"--Hebrew for "Queen Germany"--Bartana creates alternative realities from the German-Jewish past and present that bring scenes of the collective unconscious to light. The publication follows the epiphany of Malka Germania, a female redeemer figure, in five chapters whose layout is modeled on that of the Talmud, the central text in Rabbinical Judaism. This organization reflects the polyphonic complexity, rich nuance, and ambivalence that the work casts into visuals and underscores that there is no simple answer. The book includes an interview with the artist and contributions by Sami Berdugo, Christina von Braun, Michael Brenner, Max Czollek, and others. It is published on occasion of the exhibition Yael Bartana--Redemption Now at the Jewish Museum Berlin.

Trans-European Perspectives in the Age of Cultural Fragmentation. Since the turn of the millennium, much of the world has become an increasingly unstable and dissonant place. Sharp disruptions define many aspects of our social, cultural, and political relations. Art in a Conflicted World addresses this evolving reality, featuring critical positions articulated by visual artists and writers from Ukraine, Russia, and Great Britain--regions embroiled in extraordinary strife and upheaval. The publication takes a frank look at these multifaceted states of social dissonance and reflects them in diverse artistic and literary inquiries and responses. The contributions are the fruits of an interdisciplinary fellowship program at Kulturstiftung Schloss Wiepersdorf that offers the participants an opportunity to gain fresh creative and cultural insights, test ways of engaging with complexity, and develop models for the future that transcend national boundaries. The publication presents works by Sarah Dobai, Nikita Kadan, Ali Eisa, and Sebastian Lloyd Rees (Lloyd Corporation) as well as writings by Alisa Ganieva and Tanya Zaharchenko.

The Political Substance of Wood. Jems Koko Bi (b. Sinfra, Côte d'Ivoire, 1966; lives and works in Kaarst, Germany, Dakar, and Abidjan) is world-renowned for the monumental wood sculptures he creates using a machine saw. This book juxtaposes his most recent body of works with the large-format woodcuts of HAP Grieshaber (b. Rot an der Rot, Germany, 1909; d. Eningen unter Achalm, 1981). Although the two artists never met, their oeuvres are characterized by similar themes, values, and materials. The central concern is the fate of the forests and its momentous political and social implications: Grieshaber's woodcuts articulate his principled opposition to the predatory exploitation of nature in the 1970s--an issue that is more relevant than ever today in light of the climate crisis and the Fridays for Future movement. Koko Bi's figural groups bring this tradition of political art into our time, making a global and universally compelling case for a sustainable husbandry of our resources. Jems Koko Bi studied at the Institut National Supérieur des Arts et de l'Action Culturelle (INSAAC), Abidjan, and the Düsseldorf Academy of Fine Arts.

Contemplating Nature in a Reduced-Mobility Environment. "The events of the year 2021, which was defined by lockdowns, the pandemic, and restrictions, has brought out the resonance in my pictures of Gustave Courbet's realism," Alexander Ruthner (b. Vienna, 1982; lives and works in Vienna) says about his most recent works: oil paintings featuring lush green vegetation and veritable down comforters painted all-over in saturated color gradients. The works will make their public début as the publication is released in the summer of 2021, hence the word "Summer" in the title. The other word, "Cour," is a nod to the first syllable of the French painter's name as well as French for "court," a term the artist creatively reinterprets as a synonym for the solitary "castle of the mind" to which we have retreated under pandemic conditions. Ruthner, who studied with Peter Kogler, Daniel Richter, and Albert Oehlen, revisits the boscage and pasture painting of past eras in new works that propose a distinctive personal interpretation of that tradition's charm. Alexander Ruthner's work has been shown at Kunsthalle Wien, the Whitechapel Gallery, London, and the National Museum of Montenegro, a.o.

A provocation of vision between surface and depth. In her sculptural works, Karin Hochstatter (b, 1960 in Cologne, lives and works in Cologne) deals with forms and their dissolution, as well as the perceptual mechanisms that arise from this. In her sculptural installations, the overlapping of various media--including drawing, digital photo collage, film, and video installation--forms the basis of her artistic field of action. Everyday materials from high-tech production processes, such as construction products and foils, become fragile and expansive structures that question both our way of seeing and our notion of sculpture. The book does not follow a chronological structure, but rather the artist's way of thinking. It documents her more recent works since 2013, which always exist as singular events in space and never appear a second time in the same way. Karin Hochstatter studied Visual Art at the Düsseldorf Academy of Art Düsseldorf and Philosophy at Heinrich Heine University Düsseldorf. Since 1998, she has been a visiting professor and lecturer at Goethe University in Frankfurt am Main, the Academy of Fine Arts in Mainz, Braunschweig University of Art, Loyola Marymount University in Los Angeles, and Cologne University of Applied Sciences.

What is Visible and What is Not. Mischa Kuball (b. 1959, Du¨sseldorf; lives and works in Du¨sseldorf) investigates public and institutional spaces and the social and political discourses that shape them. At the invitation of the Draiflessen Collection and with support from the Nolde Stiftung, the conceptual artist grappled with the life and oeuvre of the painter Emil Nolde (1867-1956) and created a body of work titled Nolde/critique/Kuball. In piece after piece, Kuball drains Nolde's works of the colors that made the Expressionist famous, challenging the beholder's preconceptions and examining perception and its constituent processes. Laid out in black and white, the book accordingly directs our attention not only to what a picture shows, but also to how structures and organizing principles emerge into view. Mischa Kuball has been professor of public art at the Kunsthochschule fu¨r Medien Köln, and associate professor of media art at the Staatliche Hochschule fu¨r Gestaltung/ZKM Karlsruhe since 2007.

Treading the limits of originality. Peter Zimmermann (*1956 in Freiburg, lives and works in Cologne) is one of the most important conceptual media artists. With his work, he consistently experimented with visual reproduction techniques and gained international recognition in the late 1980s with his Book Cover Paintings: motifs from book covers such as that of the Diercke Weltatlas, which Zimmermann transfers to the canvas with oil and epoxy resins. The relationship between original and copy is the central theme of his work, with which he addresses the ambivalence of artistic and digital authorship. Under the title Peter Zimmermann: abstractness, this monograph brings together early works and a selection of current productions. Peter Zimmermann studied at the Stuttgart State Academy of Art and Design and was professor at the Academy of Media Arts Cologne from 2002 to 2007. His works can be found in the collections of, among others, the MMK Museum for Modern Art in Frankfurt am Main, the Staatsgalerie Stuttgart, the Centre George Pompidou in Paris, and The Museum of Modern Art in New York.

Graphic Manifestations of the Unconscious. The painter Shara Hughes (b. Atlanta, GA, 1981; lives and works in Brooklyn, NY, USA) is one of the rising stars of the American arts scene. Her colorful imaginary landscapes, executed in a radiant palette and with an expressive gesture, pay homage to the Symbolists, the Fauves, and the Expressionists, whose artful handling of lighting and depth she deftly emulates. In an intuitive approach, Hughes applies paints to the canvas that match her present state of mind. She calls her pictures "emotional landscapes" and notes that she does not know what will happen next; her work on them touches on a vulnerable boundary. The lavish book presents numerous works on paper, most of them in large formats, and contains an essay by the New York-based art critic Andrew Russeth. Shara Hughes graduated from the Rhode Island School of Design and later attended the Skowhegan School of Painting & Sculpture in Madison, ME. She has had solo shows at the Arts Club, London, the Newport Art Museum, the Metropolitan Opera, New York, and the Museum of Contemporary Art of Georgia, Atlanta. In 2017, her work was included in the Whitney Biennial at the Whitney Museum.