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Nachdem der experimentelle Musiker und bildende Künstler Mazen Kerbaj mit seiner Familie von Beirut nach Berlin gezogen war, sah er sich mit einer neuen Sprache, einer neuen Welt konfrontiert. Er beschloss, Deutsch auf seine Weise zu lernen: ein Wort pro Tag, 365 Tage lang, jedes Wort illustriert durch ein Selbstporträt. Learning Deutsch ist Wort-Bilder-Buch und immerwährender Kalender zugleich: Wort für Wort folgen wir Mazen Kerbaj auf seiner Entdeckungsreise durch Eigenheiten der deutschen Sprache. Die von arabischen, englischen und deutschen Wörtern flankierten Zeichnungen entwickeln ein einzigartiges Lehrbuch zum Spracherwerb. Die Zeichnungen sind oft witzig, manchmal aber auch traurig und anrührend; sie illustrieren selten einfach nur die Worte, sondern sind das offene Tagebuch eines Künstlers aus dem Nahen Osten der seinen Weg im deutschen Alltag findet.MAZEN KERBAJ (*1975, Beirut) der in so unterschiedlichen Bereichen wie Musik, bildende Kunst, Comic oder Theater arbeitet, ist eine der Schlüsselfiguren der libanesischen Kunstszene nach dem Bürgerkrieg. Seine Arbeiten wurden in mehr als zehn Sprachen veröffentlicht und in Galerien, Museen und auf Kunstmessen in aller Welt ausgestellt.

Wer eine seiner spektakulären Performances auf der Bühneoder Interventionen im öffentlichen Raum erleben durfte,wird sie nicht vergessen haben. Bunt vermummte Performer*innen bewegen sich im Trupp durch die Stadt und- auf ein geheimes Kommando hin - stapeln sich und verschränkenihre Körper in Hauseingängen, auf Treppenabsätzenoder auf Parkbänken, das Publikum folgt ihnenstaunend. Künstler und Choreograf Willi Dorner gründeteseine Kompanie 1999 in Wien: Mit seinen ortsspezifischenPerformances und Interventionen, Fotografien und Filmenermöglicht er eine differenzierte Wahrnehmung unseresAlltages.Dieses Buch gibt einen Rückblick auf sein bisheriges interdisziplinäresSchaffen im Innen- wie Außenbereich. ZahlreicheBilder sind den persönlichen Erinnerungen Dornerszur Seite gestellt und vervollständigen das Bild über seinekünstlerischen Arbeiten abseits der Bühne vom Ende der1990er-Jahre bis in die Gegenwart. Ein interessanter Einblickin das »making-of« der Projekte, Erlebnisse auf seinenzahlreichen Reisen, eine Fotostrecke zum Thema Stadtrunden das Porträt ab.

Over the last 30 years, the French artist Philippe Parrenohas radically redefined the experience of the exhibition byplacing its construction at the heart of his process. Workingwith high-end technologies, film, and performance, hetransforms galleries in choreographed spaces that follow ascript where a series of unexpected albeit interconnectedevents unfold, thereby playing with the sensory experiencesof the visitor who is guided through the space bythe orchestration of sound and image.Pushing the boundaries between script and transcript,between document and memory one step further, the publicationVoices consists of transcriptions of his films, audioworks, and performances, transferring these seminal works(back) into written form. The collection of texts establishesa new perspective on Parreno's practice, which has alwaysbeen focused on revisiting and evolving his artworks fromthe past, and offers insight into the artist's multi-facetedapproach to language and the human voice.PHILIPPE PARRENO (*1964, Oran) is one of the most influentialFrench artists of the last decades. Through his multidisciplinarypractice and astonishing films, including his iconic "marquees,"luminous objects that speak, glimpse, sing, and enter intodialogue with the visitors, Parreno creates artworks that questionthe boundaries between reality and fiction, and play with ourunderstanding of time. He has transformed the monumentalspaces of the Palais de Tokyo and Tate Modern's Turbine Hall.Recent exhibitions include site-specific interventions in theRotunda of the Bourse de Commerce in Paris, and the Museo delPrado in Madrid. Parreno lives and works in Paris.

Gabriele Rothemanns Fotografien bilden nicht einfachetwas ab, sondern stellen etwas her: Eine Beziehung zulängst Vergangenem, eine Verbindung mit fremden Zeitenund Räumen. In jedem Bild schwingt der Nachhall andererBilder mit, in jedem ist eine Fülle von Möglichkeiten, wiedie Welt im Bild wahrgenommen und dargestellt werdenkann, verdichtet.Seit 1984 verwendet sie das Medium der Fotografie in einerArt und Weise, die den Gegenstand in ihren Bildern nichterstarren lässt, sondern ihm imaginäres Leben verleiht.Ihr Werk kreist um existenzielle Fragen - insbesondereum die Grundfrage allen Lebens: seine Endlichkeit. Oftabstrahiert und gleichzeitig präzise und detailreich dargestellt,bekommen ihre Motive von den Toten Tieren zuden Miniaturen über das Verschwinden eine eindringlichePräsenz. So appelliert die Künstlerin an die Empathie ihrerBetrachter*innen und berührt sie nicht zuletzt mit dersinnlichen Qualität ihrer Bilder, ihrer klaren Bildspracheund ausdrucksvollen Schönheit.GABRIELE ROTHEMANN (*1960, Offenbach am Main) hat an derKunstakademie Düsseldorf bei Fritz Schwegler und am CaliforniaInstitute of the Arts, Los Angeles, studiert. Sie lebt und arbeitetin Wien. Seit 2001 leitet sie als Professorin die Klasse für Fotografiean der Universität für angewandte Kunst Wien. RothemannsWerke werden in zahlreichen Ausstellungen im In- und Auslandausgestellt und sind in vielen Sammlungen vertreten.

¿ Striking walkable room installation¿ Documenting a temporary art installation that endured for a decade¿ Summary and illustrated review of the project

Sanyu: His Life and Works in Oil traces the life of theChinese artist (1895-1966) from his early years in Chinaand Japan, to his artistic experimentation and developmentin Paris and New York, ending in his tragic death,impoverished and forgotten. Today, however, Sanyu is oneof the most coveted Chinese modern artists. An examinationof his life reveals that it was precisely the polaritiesand tensions he experienced that spurred him to create aunique pictorial language that so dynamically integratedthe spirit of Western modernity with centuries-old establishedChinese traditions. Sanyu metamorphosed froma Chinese artist of the modern period to a modernistwith Chinese cultural roots. These intersecting dynamicsresulted in a hybridization previously unseen.Featuring examples of his works of all genres and drawingon a wealth of archival material as well as personal storiesrecounted by people who knew Sanyu, this biography is themost comprehensive record of Sanyu's life to date.

Charcoal Vol. II presents the charcoal drawings of American artist Robert Longo from 2012 to the present. This large-format, elaborately designed catalogue, printed on natural paper using a tritone process, bound in half linen represents a continuation of the first volume; together they form a comprehensive compendium of this central oeuvre by the legendary New York artist, who was a key figure in founding the Pictures Generation in the 1980s. In this new catalogue, essays by Tim Griffin and Haley Mellin address the existential questions of our time that are at the heart of these new, large-scale, hyperrealistic drawings: war, violence, capitalism, the rising division of American society, the possibilities of political protest and individual freedom in the face of the overwhelming power of the media.ROBERT LONGO (*1953, Brooklyn) is one of the most influential artists of American postmodernism. After graduating from the State University College in Buffalo, New York, in 1975, he became one of the central protagonists of the Pictures Generation. Despite the diversity of their individual positions, this loose group around artists Cindy Sherman, Barbara Kruger, Louise Lawler, David Salle, Richard Prince, Jack Goldstein, and Sherrie Levine is characterized by its use of already existing images referencing mass media and pop culture. Longo lives and works in New York.

A poet, painter and philosopher, Etel Adnan's life and work was shaped by a profound and vibrant exchange between Arab and Western cultures. In 2024, the King Abdulaziz Center for World Culture in Dhahran is organizing the first major exhibition in Saudi Arabia dedicated to one of the most important voices in modern American-Arab literature and visual art. Living a life between Lebanon, France and California, and influenced by her travels to Mexico and North Africa, Adnan's work is characterized by her openness to different media and languages, both literary and visual. Refusing to continue writing in French to show solidarity with Algeria during the Algerian War of Independence, she began to paint using bright colors as a universal language. Alongside this, leporellos became her signature medium: the pocket-sized books unfold into several meters long, lavishly illustrated tapestries of poetry and painting. Opening up new perspectives, this catalogue brings together a large number of works from all periods that emphasize the richness and diversity of Adnan's oeuvre, and explores various themes essential to a deeper understanding of her work. A comprehensive chronology willalso enrich the book, making it not least a reference tool in Arabic.ETEL ADNAN's (1925-2021) widely-acclaimed work was shaped by a constant immersion in new contexts and cultures. Born in Beirut to a Greek mother and father from Damascus, she grew up in an extraordinary multicultural environment. A student of philosophy in Beirut and Paris, she moved to the US in 1955 to attend Berkeley and Harvard, and taught philosophy in the San Francisco Bay Area from 1958-72. There she began to paint, deeply inspired by her encounters with the surrounding nature. Adnan returned to Beirut in 1972 to work as a cultural editor for two daily newspapers. Fleeing the civil war, she resettled in California in 1977, making Sausalito her home, with frequent stays in France.

SINK / RISE is the third chapter of The Day May Break, NickBrandt's ongoing global series portraying people and animalsthat have been impacted by environmental degradationand destruction. This third chapter focuses onSouth Pacific Islanders impacted by climate change andserves as a stark reminder of the looming reality manyisland nations face. The local people in these photos, photographedunderwater in the ocean off the coast of theFijian islands, symbolize the many people who stand tolose their homes, land and livelihoods in the coming decadesas the water rises.The images-all shot in-camera underwater-are hauntinglybeautiful. But beyond the immediate visual impact,Brandt's work delves deeper, asking: how did we get here?What does the future hold for these communities? Andhow can we mitigate, if not reverse, the damage? Brandt'semphatic portraits bridge the often abstract concept of climatechange and are a reminder that behind every statisticabout rising sea levels, there's a tangible human story.NICK BRANDT (*1964, London) studied painting and film at St.Martin's School of Art, London. In 1992 he moved to California,where he still lives today. Since 2001, he has documented thedestructive impact that humankind is having on the naturalworld and, as a result, on humans themselves. Chapter One ofhis seminal series The Day May Break featured photographstaken in Zimbabwe and Kenya in late 2020. Chapter Two wasshot in Bolivia in 2022. In the third chapter Brandt introducescolor to the series, highlighting the all-encompassing impact ofthe water.

Since the late 1970s, the Canadian artist Jeff Wall has contributed significantly to establishing photography as an autonomous medium, and is regarded as one of the key vanguards of "staged photography". Referring to his approach as "near documentary", his images resemble documentary photographs in style and manner, but instead are meticulously composed, multilayered compositions. Synthesizing photography with elements from other art forms such as painting, cinema, and literature-in a complex mode that he calls "cinematography"-his deeply intellectual work stages fictional realities, memories and past experiences in an elaborate process. Featuring more than fifty works, this catalogue accompanying the large-scale exhibition at the Fondation Beyeler juxtaposes Wall's iconic backlit color transparencies with his more recent black and white photographs and color C-prints, revealing a variety of references in content and form.With his innovative approach to photography, JEFF WALL (*1946, Vancouver) has significantly shaped the medium and its status within contemporary art. After completing his postgraduate studies in art history in the mid-1970s, his new conceptual approach to large-format pictorial photography attracted attention. Each of his images is a unique composition that can take years to complete. Since the mid-1990s he has expanded his repertoire, working with traditional black-and-white prints and, more recently, inkjet color prints. He lives and works in Vancouver.

Nina Beier probes the depths of the material world, exposing the underlying narratives contained in the lives of the objects we produce, acquire, use, and discard. Harnessing found objects and commodities as well as associated social habits and behaviors, she deftly manipulates and recontextualizes them within her sculptures and performances to examine global power dynamics, value, and representation. This richly illustrated volume provides an in-depth understanding of the Danish artist's multifaceted career through the sampling of existing texts written by key collaborators over the past decade, and newly commissioned essays which further explore the central concerns and motivations behind Beier's practice, exhibition history, and selection of materials. With extensive survey exhibitions culminating in 2024 at CAPC musée d'art contemporain, Bordeaux, KIASMA Museum, Helsinki, and El Museo Tamayo, Mexico City, now is an evident time to publish the first elaborate monograph to date.NINA BEIER (*1975, Aarhus, Denmark) graduated from the Royal College of Art, London in 2004. Working with a range of objects travelling between different geopolitical realities, Beier's installations seek to confront, negotiate, and undermine the volatile tropes these materials bear. Her internationally acknowledged work has been presented in a range of environments from museums to the public realm. She lives and works in Copenhagen.

Emerging from a series of public events at London's Serpentine Gallery, The Shape of a Circle in the Mind of a Fish is an edited collection that brings together interventions across arts, the humanities and science that have been convened over the past five years. They investigate the idea of "mind" across species and beings, inquiring upon animal, plant and fungal intelligence, consciousness and affects, machine sentience and interspecies communication. Edited by Lucia Pietroiusti and Filipa Ramos, the publication includes new material by over fifty experts, including Marisol de la Cadena, Ted Chiang, Peter Gabriel, Amy Hollywood, Tim Ingold, Karrabing Film Collective, Kapwani Kiwanga, Elizabeth A. Povinelli, Merlin Sheldrake, Anna Lowenhaupt Tsing, and many more.Curator LUCIA PIETROIUSTI is Head of Ecologies at Serpentine, London and the founder of the General Ecology project (2018-ongoing). Pietroiusti works at the intersection of art, ecology and systems. She is the curator of Sun & Sea (Lithuanian Pavilion, Venice Biennale) and the co-editor of the reader More-than-Human (2020).The research of author and curator FILIPA RAMOS focuses on how culture addresses ecology, attending to how contemporary art fosters relationships between nature and technology. She is curator of Art Basel Film and lecturer at the Arts Institute of the Fachhochschule Nordwestschweiz, Basel, where she leads the Art and Nature seminars.

Frédéric Clot hat sich als Autodidakt eine einzigartigeZeichen- und Malweise erarbeitet - gegen den Strom etablierterStile, vor allem in Schwarz-Weiß, zwischen Figurationund Abstraktion. In Gemälden, Radierungen undZeichnungen evoziert er rätselhafte Orte. Clot entwirftSzenarien, die unserer Zeit voll und ganz zu entsprechenscheinen: Sie sind abstrakte, schwer greifbare Reminiszenzenunserer Gegenwart und spiegeln die weit gefassteKommunikation im digitalen Zeitalter.Die reich bebilderte Publikation ist die erste, das bisherigeGesamtwerk des Schweizer Künstlers umfassende Monografie.Sie bietet einen Überblick über mehr als zwanzigJahre künstlerischen Schaffens und wird durch Essays derKunsthistorikerin Karine Tissot, der Kulturjournalistin undKunstkritikerin Françoise Jaunin und des Londoner KunstkritikersJJ Charlesworth komplettiert.FRÉDÉRIC CLOT (*1973, Saint-Loup, Schweiz) verbringt seine Zeit zwischen Ependes, einem kleinen Dorf im Kanton Waadt, und Lissabon. Seine Arbeiten sind in weltweit zahlreichen Sammlungen vertreten und werden regelmäßig in der Schweiz und im Ausland ausgestellt.

What is there to hope for today? How does hope manifest itself at a time when a linear understanding of the future, of growing prosperity, security, and progress is canceled? How can hope be thought beyond market-driven forms of worldbuilding? Is there a third approach in which hope as a critical practice opens a path to alternative futures? After Techno Globalization Pandemic and HOPE is the third chapter of the long-term project TECHNO HUMANITIES, exploring the urgent questions of what it means to be a global citizen in the present-day dependency between ecology, technology, and economy. HOPE brings together a wide range of artistic positions from different generations that see the end of future as the start of new beginnings and an incentive to validate more circular and re-generative practices as a source of wonder and collective movement.

For the ZERO avant-garde, traditional conceptions of art could be challenged through transforming the atelier into an exhibition space and disseminating their art through books. In this manner they made friends with the representatives of Concrete Poetry. A diagram visualizes who they thought to be part of the movement: those who were open to experimentation and those were not afraid to work with fire; even in the galleries, few of which were willing to pay homage to the avant-garde at this time. International thinking united the young artists of the 1950s and 60s, whose network extended from Düsseldorf to Milan, Brussels, Paris, and Zagreb. Kinetics and light replaced brushes and canvases, and new music played in the background. They also tried to get closer to nature through the concept of the Open Artwork.In The ABCs of ZERO, writers, scholars, and authors from the fields of art, music, sociology and theater tell the story of this art movement-from A for atelier to Z for ZERO. Featuring a wealth of photos and documents from an era just emerging from the ruins, but facing the future with optimism, this book recalls a historical moment of peaceful utopia in Europe.

Ob in bildender Kunst, Literatur, Kino, Wissenschaft oder Mode - in den Krisen nach dem Ersten Weltkrieg beruhte die Faszination für Typen auf einem gesamtgesellschaftlichen Impuls. Man suchte neue Vorbilder und ganz unbescheiden das »Gesicht der Zeit«, wie uns die neusachlichen Bildnisse von Otto Dix, George Grosz, Jeanne Mammen und Hanna Nagel zeigen. Viele der klischeebehafteten Vorstellungen, etwa zur »Neuen Frau« oder zum »Arbeiter«, wirken bis in die Gegenwart, indem sie uns mit ihrer Klassifikation von Individuen an ein Dilemma erinnern, das auch in heutigen Rassismen fortlebt.Das weite Spektrum der Beiträge aus kunst- wie medizinhistorischer, aus medienwissenschaftlicher und soziologischer Sicht belegt dies eindrucksvoll. Eine eigens für die Ausstellungen entwickelte Installation der 1990 geborenen Künstlerin Cemile Sahin schlägt eine Brücke in die Gegenwart.MIT WERKEN VON:Hans Baluschek, Rudolf Bergander, Albert Birkle, Richard Birnstengel, Friedrich Bochmann, Steffi Brandl, Gottfried Brockmann, Friedrich Busack, Heinrich Maria Davringhausen, Erich Drechsler, Kate Diehn-Bitt, Rudolf Dischinger, Otto Dix, Hermann Fechenbach, Conrad Felixmüller, Fred Goldberg, Otto Griebel, George Grosz, Lea Grundig, Hans Grundig, Elsa Haensgen-Dingkuhn, Hainz Hamisch, Nini Hess, Olga Hayduk, Karl Hubbuch, Heinrich Hoerle, Lotte Jacobi, Grethe Jürgens, Alexander Kanoldt, Annelise Kretschmer, Paula Lauenstein, Lotte Lesehr-Schneider, Elfriede Lohse-Wächtler, Jeanne Mammen, Hanna Nagel, Gerta Overbeck-Schenck, Lotte B. Prechner, Anton Räderscheidt, Kurt Querner, Christian Schad, August Sander, Josef Scharl, Rudolf Schlichter, Wilhelm Schnarrenberger, Georg Scholz, Alice Sommer, Cami Stone, Erika Streit, Ernst Thoms, Kurt Weinhold, Erik Winnertz, Dörte Clara Wolff [DODO], Richard Ziegler und Cemile Sahin

Idris Khan is internationally recognized for a densely-layered, poetic body of work imbued with echoes and reverberations that evoke the flow of time. Drawing inspiration from culturally coded sources and artifacts, Khan explores themes including history, religion, music and cumulative experience. Repetition and ritual are central to Khan's approach to image-making and have remained a throughline in his practice. Spanning painting, photographic prints, watercolors, works on paper, sculpture, and video, Khan condenses human experience into imagesthat encapsulate the metaphysical collapse of time into singular moments. Idris Khan: Repeat After Me chronicles the development of the British artist's practice across more than two decades, from his early monochromatic photographic works to a new series of abstract watercolor compositions that encapsulate the essence of iconic paintings of the 16th-18th centuries through their use of color. Accompanying his first US exhibition, this catalogue will feature essays by curatorMarcelle Polednik, art critic David Carrier and a conversation between Idris Khan and artist Edmund de Waal.London-based IDRIS KHAN (*1978, Birmingham) is one of the most exciting British artists of his generation. Upon completing his Master's Degree in Fine Art at the Royal College of Art in London in 2004, he first garnered international attention for his digital layering of black-and-white photographs. In 2018, he created the British Museum's first site-specific work, he has had numerous international solo exhibitions, and in 2017 was awarded the American Architecture Prize for his design of Abu Dhabi's Wahat Al Karama.

Approximately 50,000 Jews survived the Holocaust inoccupied Poland and Ukraine, some of them using hideouts.Driven by necessity, they were forced to seek refugein unlikely and seemingly unsuited places such as treehollows, closets, basements or sewers-staying there fordays, and sometimes even years. They are a testament tothe architectural creativity of those who had to secure thebasic means of sustaining life with minimal resources,without being able to radically alter the space availableto them.Architect, scholar and artist Natalia Romik has identifiedand studied several hideouts that still exist today.Her research, resulting in the exhibition Hideouts. TheArchitecture of Survival, accentuates the material and spatialdimensions of living in hiding, gathering the evidenceof vernacular, architectural creativity employed underlife-threatening conditions. This interdisciplinary catalogue,addresses the fundamental question of the functionof architecture in relation to the history of violenceand our culture of commemoration.A graduate in political science, practitioner of architecture and artist, NATALIA ROMIK (*1983, Warsaw) received a PhD at London's Bartlett School of Architecture in 2018. Romik has been awarded numerous grants, including the London Arts and Humanities Partnership, and the Scholarship of the Minister of Culture and National Heritage of Poland. Currently she is a postdoctoral fellow at the Foundation for the Memory of the Shoah in Paris.

Die Publikation Rheingold. Zeichnungen bildet erstmals alle Zeichnungen zu Alex Wissels Werkgruppe Rheingold ab. Rheingold entstand aus der Figur des Art Consultant Helge Achenbach, welcher 2015 wegen Betrugs verurteilt wurde. Laut Begründung der Richter hatte der Kunstberater sich durch die Manipulation von Rechnungen des Betruges schuldig gemacht. In den absurdesten Momenten des Prozesses bezeichnete Achenbach die gefälschten Rechnungen als Collage und sich selbst damit quasi als Künstler.Die Zeichnungen nehmen diesen Moment des Prozesses zum Anlass um über die Genese von neoliberaler Realität in Deutschland nachzudenken. Sie können als alternative (Kunst-)geschichtsschreibung der letzten 25 Jahre Bundesrepublik gelesen werden. Die zentrale Frage: Wie wurde aus dem Beuys-Diktum: "Jeder Mensch ist ein Künstler" die Ich-AG? ALEX WISSEL (*1983, Aschaffenburg, Deutschland) ist bildender Künstler. Wissels Werkansatz zeichnet sich durch die Wahl verschiedenster Medien wie Zeichnung, Film und Installation und der Arbeit als Drehbuchautor, Bühnenbildner und Schauspieler aus. Wissels Arbeiten wurden u.a. im Kunstverein Harburger Bahnhof, Volksbühne Berlin, dem Kunstverein für die Rheinlande und Westfalen präsentiert.

Skin in the Game follows on from the acclaimed fieldworkdiary, The Metabolic Museum. In this new book,Clémentine Deliss expands on how artists understand riskand contention both in their work and with regard to historicalcollections. Through a series of compelling conversations,questions are raised on how to work on colonialcollections through the concept of the "prototype" as generativeof a multiplicity of non-exclusive interpretations. Thebook includes interviews with leading women artists spanningtwo generations-Ruth Buchanan, Otobong Nkanga,Collier Schorr, Joëlle Tuerlinckx, and Andrea Zittel-inwhich they discuss that moment of "skin in the game,"when each of them took the decision to become an artist,to enter the Hades of an uncertain existence and theHeaven of aesthetic experiment. What was the prototypethat defined their career and their life's trajectory, that likea revenant returns over the course of an artist's lifetime?CLÉMENTINE DELISS (*1960, London) is an independent curator whose practice crosses the borders of contemporary art, critical anthropology and curatorial experimentation. She is internationally recognized for her seminal work on the Post-Ethnographic, on African modernism, and for her interventionist practices in art. She is Honorary Global Humanities Professor of History of Art at the University of Cambridge, and Associate Curator at KW Institute for Contemporary Art in Berlin.

¿ Polymath and fascinating personality of the twentieth century¿ Inspiration for artists of all disciplines up until today¿ Presentation of his innovative paintings and sculptures

Erased de Kooning Drawing is an artwork that radically challenged the very definition of art and questioned the notion of the artist as creator. Three American artists were involved in its creation: In 1953, Robert Rauschenberg erased a drawing by Willem de Kooning, who had somewhat reluctantly been giving his consent. Jasper Johns created a label for its first public presentation that proved to be key to the psychological framing of the piece. Having been transmuted into something new, the obliterated drawing was soon perceived as a pivotal moment in art history: In the 1950s it was considered Neo-Dada, in the 1960s it was hailed as the beginning of conceptual art, and in the 1980s saw it as a departure into postmodernism. Numerous artists referenced the work and it became a touchstone in Rauschenberg's oeuvre. Gregor Stemmrich outlines its status as a litmus test for the definitions of modernism, literalism and postmodernism, and demonstrates its continuing relevance for the theory of the image and the question of appropriation.GREGOR STEMMRICH (*1953, Soest) is Professor of Art and Art History at NYU Abu Dhabi since 2015. His main focus is on modern and contemporary art. Previously, he was Professor at Freie Universität Berlin and Hochschule für Bildende Künste Dresden. He edited the interviews and writings of Lawrence Weiner as well as Dan Graham, and has published extensively on abstract, conceptual and minimal art.

Complementing Gerhard Richter's hitherto six-volume Catalogue Raisonné, published between 2011 and 2022, this concluding seventh double volume will be published. Catalogue 7a encompasses all the works that make up the German artist's remarkably complex oeuvre that have been featured in the previous six volumes-reproduced at a scale of 1:50. The catalogue thus provides a unique overview of the artist's entire oeuvre, tracing its development as well as Richter's shifts between different styles. The appendix also lists amendments and important corrections to the catalogue of works. In addition, Richter's new works since the completion of Volume 6 in 2019 will be published here. Volume 7b contains an extensive biography as well as detailed information on exhibitions and a bibliography, supplemented by numerous illustrations.GERHARD RICHTER (*1932) is one of the most influential artists of our time. Over the course of six decades, a stylistically diverse oeuvre, characterized by a wealth of motifs and a uniquely original quality has emerged. Richter studied from 1961-1964 at the Kunstakademie Düsseldorf, where he later taught as a professor. He lives and works in Cologne.DIETMAR ELGER (*1958, Hannover) has been director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden since 2006.

After the success of Coincidences at Museums, Austrian photographer Stefan Draschan has continued to work on his various photographic series¿and time and time again he has succeeded in finding eye-catching moments. It is therefore high time for a new book that presents his staged series for the first time, shows a selction from the previously unpublished series Cars Matching Homes, and above all presents new highlights from his museum series, which have become increasingly diverse. Draschan's work has inspired a wide audience to identify patterns and joyful compositions in everyday life. This beautifully designed book shows just how many visual surprises and unusual perspectives this master of the unex- pected moment has to offer.

CARRIE MAE WEEMS (*1953, Portland, Oregon) was trained as both a dancer and a photographer before enrolling in the grad­uate program in folklore at University of California, Berkeley in 1984. Questioning the representation of the Black subject, she came to prominence through her photographic work such as her seminal The Kitchen Table Series (1990), a narrative of staged photographs that tell a story of one woman's life, as conducted in the intimate setting of her kitchen. In 2014, she was the first African-American woman ever given a solo exhibition at the Guggenheim in New York.

In 2019, Berlin-based contemporary artist Stefan Marx created a series of drawings for a daily column in The New York Times. Now, he has turned his Reading the News series into quite a unique board book. Whether you think of it as an artist's book, a coloring book, or an inspiring children's book, it opens up unusual spaces for our imaginations. With just a few concise lines, Stefan Marx cheerful fruit and veg will change your frame of mind about reading the news.Over the past 20 years, contemporary artist, skateboarder and illustrator STEFAN MARX (*1979 Schwalmstadt, Germany) has lent his unique handwriting to a variety of media: paper, canvas, porcelain and textiles. He publishes artists' books and zines, designs record covers for various labels, and shows his work in international exhibitions, at art book fairs and galleries. Marx lives and works in Berlin.

Till Now provides an overview of the work to date of theyoung German-French artist Milen Till, whose multi-layeredworks explore the legacy of conceptual art as wellas the ready-made. His playful reinterpretations of masterpiecesby Marcel Duchamp, Joseph Beuys, Yves Klein,Sol Le Witt, Bruce Nauman, and many others make him ahumorous archaeologist of contemporary art. He takes uptheir methods and works, alienates them, contextualizesthem, rendering them an entirely new meaning. Using awide variety of methods, means, and tools¿from foldingrulers to drums and darts¿he takes components of arthistory and the art world's sacrosanct to develop entirelyoriginal works with a tongue-in-cheek lightness.MILEN TILL (*1984, Munich) was one part of the legendary DJ duo Kill The Tills together with his brother Amédée before turning to visual arts in 2016. He graduated from the Academy of Fine Arts in Munich in 2020, and has participated in numerous international solo and group exhibitions. Till lives and works in Munich.

Otti Berger created fabrics that fundamentally changed the understanding of what textiles could be and do. A core member of the experimental approach to textiles at the Bauhaus, she also was a female entrepreneur in the frenzied time that was the early 1930s in Berlin. Working closely with architects of the New Objectivity movement such as Lilly Reich, Ludwig Hilberseimer and Hans Scharoun, she designed upholstery and wall tapestries, curtains and floor coverings that responded to novel types of use and production methods, and thereby redefined the relationship between aesthetics and function¿with fascinating results. To date Berger's textile work has only been explored in fragments. This book is the first comprehensive study of its complexity and beauty and makes her hitherto unpublished treatise on fabrics and the methodology of textile production accessible. By systematically arranging the fabrics according to their application, Raum's research offers an entirely new perspective on Berger's oeuvre that emphasizes the craftsmanship and entrepreneurial side of her work, and appreciates the largely unrecognized significance of textiles in the history of architecture and design. OTTI BERGER (1898 - 1944) was one of the most important textile designers of the 20th century. Born in Zmajevac, in the Austro-Hungarian Empire, present-day Croatia, she studied in Zagreb from 1921 - 1926 and at the Bauhaus in Dessau from 1927. Leaving her teaching post at the Bauhaus, she set up her own business in Berlin in 1932 to design fabrics for modern interiors throughout Europe. In 1936, she was banned from working due to her Jewish heritage. Attempts to escape to England and the USA failed. She was deported from Croatia to Auschwitz and was murdered there in 1944. Visual artist and art historian JUDITH RAUM (*1977) has been preoccupied for several years with the Bauhaus textile workshop. Her intensive research in European and North American archives in cooperation with the Bauhaus Archive Berlin, is the first comprehensive study of Berger's scattered estate.

Black Masculinities explores the broad spectrum and diversity of Black masculinities through the medium of contemporary photography. Seen through the lenses of 22 Black (or) People of Color (BPoC) from around the world, the stereotypic entanglement of Black identity and masculinity is deconstructed and charged with a new set of values. Embedded in a long history of slavery, racism and oppression, the topos of Black masculinity continues to be subtly represented as aggressive, hypersexual and violent to this day. This richly illustrated book breaks down and visualizes the common mechanisms of representation in visual culture through carefully edited images and a textual contextualization. It acts as an introductory index and platform for BPoC photographers, who have been underrepresented at all levels of art production since the beginnings of photography, and makes their work visible. For all of us.FEATURED PHOTOGRAPHERS: Kemka Ajoku, Kwaku Alston, Namafu Amutse, Eric Asamoah, Nuits Balnéaires, Arielle Bobb-Willis, Braylen Dion, Kofi Duah, Yannis Davy Guibinga, Jabari Jacobs, Kelvin Konadu, Jude Lartey, Naomi Mukadi, Maganga Mwagogo, Lakin Ogunbanwo, Ruby Okoro, Rogers Ouma, Micha Serraf, Ngadi Smart, Isaac West, Jozef Wright, Ussi'n YalaJOSHUA AMISSAH (*1995, Switzerland) studied fine arts, photography, and design at the Zurich University of the Arts. He works as a designer, (photo)editor, art educator and curator at the intersection of image and text. From 2019 - 2022 he was co-curator of photoSCHWEIZ and was the main curator of the Black Art Matters exhibition in this role in 2020. He lives and works between Berlin and Zurich.