20 1 7 2018 FASHION & DESIGN
PHOTOGRAPHY
PRE-COLUMBIAN ART
ISLAMIC ART
ASIA SOCIETY | NEW YORK
BAUR FOUNDATION | GENEVA
ASIATIC ART
OCEANIC ART
MUSÉE DU QUAI BRANLY | PARIS
VISIONS OF AFRICA
AFRICAN ART
HISTORIAL DE LA GRANDE GUERRE MODERN AND CONTEMPORARY ART
ARCHIVES ANTONIO SAURA
MAD | MUSEUM OF ARTS AND DESIGN | NEW YORK MUSÉE D’ART CONTEMPORAIN | LYON
PETIT PALAIS | PARIS | ARCHIVES CHARLOTTE PERRIAND THE ISAMU NOGUCHI FOUNDATION & GARDEN MUSEUM
MoMA DESIGN SERIES JEU DE PAUME | PARIS
MoMA | NEW YORK
CENTRE POMPIDOU | TATE MODERN | SCUDERIE QUIRINALE
MUSÉE D’ART ET D’HISTOIRE | GENÈVE
INSTITUT SUISSE POUR L’ÉTUDE DE L’ART
FONDATION FÉLIX VALLOTTON
MUSÉE JENISH | VEVEY
FONDATION DE L’HERMITAGE | LAUSANNE
MUSÉE CANTONAL DES BEAUX-ARTS | LAUSANNE
GALERIE D’ARTS GRAPHIQUES
LA PHOTOGRAPHIE AU MUSÉE D’ORSAY
ESSAYS ON ART MUSÉE D’ORSAY
ANCIENT ART
MUSEO THYSSEN-BORNEMISZA | MADRID
CABINET DES DESSINS
MUSÉE DU LOUVRE
NEW TITLES
5CONTINENTS
Dear readers, This new catalogue includes a wealth of new titles covering a broad array of art forms. Perhaps never before have we been in a position to offer such a wide selection of diverse fields within our now long-standing tradition of publications dedicated to extraEuropean, especially African and Asian, art. It seemed natural to ask ourselves what these books on apparently such different subjects had in common. What features does cinema share with painting, dance with photography, sculpture with Art Brut and an anonymous prison inmate with European pop art? All of these can be found in our books. Have we perhaps created a “catch-all” catalogue with no rhyme or reason? Actually, no. Behind each title are artists, men and women — whether sculptors, photographers, painters, choreographers, film directors or ordinary people — who have invested a great deal of passion and energy in attempting to explain and interpret the world and their view of things, their fears and dreams. Opening these books, I cannot help but think about the subtitle of the book that opens the catalogue: Nothing in Moderation! These are publications that hold nothing back, many of which deal with modern or contemporary art and give a decided flavour to our publishing year. But African and Asian art lovers should not worry: we have added plenty of new titles for them, too. All I can do at this point is urge you to leaf through these pages — something is sure to catch your eye . . . Happy reading! Eric Ghysels Publisher
6 NEW TITLES 44 TAILORMADE
50
RECENT TITLES
56 CATALOGUE
[56] Modern and Contemporary Art
[57] Design and Applied Arts | Photography
[58] Visions of Africa
[59] African and Oceanic Art
[60] Pre‑Columbian and Asian Art
62 INDEX
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[ C O N T E M P O R A RY A RT ]
M I T C H E L L | R IO P ELLE N OTH IN G IN MO DER AT IO N Introduction by Michel Martin Texts by Kenneth Brummel and Yves Michaud
24 x 28 cm, 208 pages 134 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397914 £ 35.00 | US $ 45.00 | Can $ 55.00 | € 37.00
Co-published with the Musée national des beaux-arts du Québec, Québec, the Art Gallery of Ontario (AGO),Toronto, and the Fonds Hélène & Édouard Leclerc pour la Culture, Landerneau
Exhibitions Musée national des beaux-arts du Québec October 12, 2017 – January 7, 2018 Art Gallery of Ontario,Toronto February – May 2018 Fonds Hélène & Édouard Leclerc pour la Culture, Landerneau December 2018 – March 2019
[8] NEW TITLES
First lavishly illustrated publication presenting a side-by-side vision of the two painters despite their 25 years spent together and their respective fame. This important catalogue is intended as a reference work that synthesizes the creative relationship that united Joan Mitchell (1925–1992), an American painter most often associated with the New York School’s second generation of abstract expressionists in the 1950s and Jean-Paul Riopelle (1923–2002), thereby relating the 25-or-so years of shared life (1955–1979) of this extraordinary couple. Written by period and Mitchell and Riopelle specialists, the catalogue will be a tool for readers to hone their appreciation of these two major artists from the second half of the 20th century. It will also highlight the formal, aesthetic and biographical ties that fuelled their respective creative practice. For the first time ever, a publication will focus on their relationship, from their initial encounter in 1955 to their break up in 1979. Consisting of some 60 masterly works (mostly large-format paintings, a few works on paper, and archival material), this volume will explore how the two artists, who shared each other’s life for nearly a quarter century, first in Paris and then in Vétheuil (in the valley of the Seine), developed highly distinct bodies of work and studio techniques while engaging in a rich dialogue around abstract art. Clearly, their taste for the impressionist legacy, nature, and a cer tain penchant for provocation brought them together. Their concept of painting and their methods proved to be highly individualistic, deeply influenced by the tides of their love affair and their relationship to their environment. Whether drawing attention to the similarities and differences between works that address the same subject, or motifs and inspirations specific to each, this book will paint a splendid portrait of two remarkable figures of the international abstract movement. Michel Martin, Exhibition Curator and MNBAQ’s former Curator of Contemporary Art (1978 to 2008). Kenneth Brummel, AGO’s Assistant Curator of Modern Art and a specialist in late 19thcentury and 20th-century American and European art. Yves Michaud, a French philosopher, essayist and art critic who was the Director of École nationale supérieure des beaux-arts (1989–1997) and editor of the Cahiers du Musée National d’Art Moderne du Centre Georges-Pompidou (1986–1990) before becoming the driving force behind the Université de tous les savoirs (UTLS) as of 1998. The author of numerous essays on contemporary art, Yves Michaud wrote about the work of Joan Mitchell, with whom he had a deep friendship, and about the work of Jean-Paul Riopelle.
[ A RO U N D A RT ]
ON C E U P ON A T IME . . . T H E W EST ER N: A N E W F RO NT IER IN A RT A ND FILM Edited by Thomas Brent Smith and Mary-Dailey Desmarais
24 x 30 cm, 304 pages 300 colour illustrations Hardcover ISBN 9788874397655 £ 35.00 | US $ 45.00 | Can $ 55.00 | € 40.00
Co-published with the Montreal Museum of Fine Arts, Montréal and the Denver Art Museum, Denver
Exhibitions Denver Art Museum, Denver May 21 – September 10, 2017 Montreal Museum of Fine Arts, Montréal October 9, 2017 – January 21, 2018
[10] NEW TITLES
The Western is the quintessential American epic—a mythic story of nation building and the triumphs and failures, the fantasies, and even the hypocrisies that process entails. Once Upon a Time . . . The Western: A New Frontier in Art and Film explores the genre and its attendant myths in the context of painting, photography, literature, and film from the mid-1800s to the present.This book is not a comprehensive history of Western film, but a story about the visualization, transmission, and transformation of an American myth across disciplines of artistic practice over time. Wonderfully illustrated and published to accompany a major exhibition, the publication traces the development of the Western genre from its earliest beginnings in 19th-century landscape painting through John Ford’s classic films and Sergio Leone’s spaghetti Westerns up to the most recent studio productions. The book includes more than fifteen essays by renowned specialists in fine art, film, and popular culture, and highlights significant works by artists such as Albert Bierstadt, Frederic Remington, Andy Warhol, Kent Monkman, and Christian Marclay, among others. Although the Western no longer holds singular pride of place in the popular imagination, to this day the Western continues to shape our culture in important ways. In popular media, political figures are often referred to as “cowboys” and the Internet has become the new frontier. The themes treated in this book are, moreover, directly related to current debates about gun violence, “traditional” gender roles, and race relations in America. Thomas Brent Smith is Director of the Petrie Institute of Western American Art at the Denver Art Museum. Mary-Dailey Desmarais is Curator of International Modern Art at Montreal Museum of Fine Arts.
NEW TITLES [11]
[ A RO U N D A RT ]
P R I S ON E R S’ O BJECT S C OL L E C TIO N O F T HE INT ER NAT IO NA L R ED CRO SS A N D RE D CR ESCENT MU SEU M With contributions by Paul Bouvier, Roger Mayou, Martin Rueff, and Isabelle Schulte-Tenckhoff
19 x 24 cm, 160 pages 100 colour illustrations Hardcover ISBN 9788874397600 £ 29.99 | US $ 35.00 | Can $ 43.00 | € 30.00
Co-published with the International Red Cross and Red Crescent Museum, Geneva
[12] NEW TITLES
First illustrated book showcasing an international overview of prisoners’ works of art collected by the International Red Cross and Red Crescent Museum over the last century. The International Red Cross and Red Crescent Museum houses an extraordinary collection of “prisoners’ objects.” These were made by prison inmates and presented to the ICRC delegates who visited them, as provided for by the Geneva Conventions. For over a century, these objects have borne mute witness to the numerous violent episodes that continue to ravage our planet, from Chile, Vietnam, Algeria and Yugoslavia, to Rwanda and Afghanistan… As a Lebanese inmate puts it: “Creating is a way of acquiring freedom of expression, it gives us a means to say what we think while everything we see around urges us to keep quiet and to forget who we are.” While some of these works touch us through their simplicity, others astonish us with their beauty or ingeniousness. Each bears the imprint of a personal story loaded with emotion, inviting us on a journey through time and collective history. Roger Mayou, director of the International Red Cross and Red Crescent Museum, was curator of the 19th- and 20th-century departments at the Musée d’art et d’histoire de Fribourg (CH) and artistic adviser at the UBS, in charge of the art collections and commissions and cultural sponsoring in French-speaking Switzerland. Paul Bouvier has been a medical adviser at the International Committee of the Red Cross since 2007, and a lecturer at the Institute of Global Health at Geneva University. He worked with the ICRC during the 1980s regarding people either displaced or in detention in Africa and Central America. He is the director of the reference group on ethics in the practice of humanitarian work at the ICRC. Isabelle Schulte-Tenckhoff has been professor of Anthropology at the Institut de hautes études internationales et du développement (IHEID) in Geneva since 2003. Martin Rueff is a professor at Geneva University. A poet, translator and philosopher, he is a specialist of Rousseau and of moral anthropology in the classics, as well as the editor of the works of Claude Lévi-Strauss and Michel Foucault for Pléiade. He spent three years teaching in La Santé prison in Paris and for two years presented a programme of creative writing at Curabilis, Geneva.
<< 1. Aigle Allemagne, 1944 Bois L. 29 cm MICR/COL-1991-133-1
2. Serpent Royaume-Uni, 1919 Perles de verre, tissu L. 535 cm MICR/COL-1992-34-1
Fabriqué par des prisonniers soviétiques employés comme travailleurs à la caserne de Leweck à OldenburgKreyenbrück (Allemagne), cet objet a été échangé avec un gardien contre du pain.
Durant la Première Guerre mondiale, de nombreux prisonniers ottomans créent de petits objets en perles. Certains sont offerts en cadeau, d’autres sont vendus ou échangés, d’autres enfin sont conservés comme souvenirs de captivité. Le serpent est considéré comme un symbole de bonne fortune.
3. Cygne Colombie, vers 2012 Papier provenant de sachets de café H. 22 cm MICR/COL-2012-8-1
6. Paire de pendentifs Irak, 1990 Aluminium, laiton L. 4 cm MICR/COL-1991-134-1 Fabriqués par un prisonnier de guerre iranien.
Fabriqué par un détenu de la guérilla des FARC-EP.
7. Pendentif Irak, 1984 Pierre L. 2,50 cm MICR/COL -1987-24-2 Fabriqué par un prisonnier de guerre iranien.
8. Poisson articulé Grèce, vers 1950 Bois L. 24 cm MICR/COL-1995-49-8 | 14 |
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<< 18. Mallette Rhodésie, 1978 Papier, carton, plastique L. 39 cm MICR/COL-1991-42-1
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44. Archet Nigéria, entre 1967 et 1970 Bois, corde L. 23 cm MICR/COL-1999-39-2 Probablement fabriqué par un détenu au Biafra.
19. Bas-relief Bosnie-Herzégovine, 1992 Bois 27 x 17 cm MICR/COL-1993-129-1
45. Guitare Mozambique, 1989 Métal provenant de boîtes de lait en poudre, bois, caoutchouc L. 97 cm MICR/COL-1991-80-1
L’inscription dit : De la part des prisonniers de Manjaca. Objet donné au moment de la fermeture de ce camp.
Cette guitare est le fruit du travail de plusieurs détenus de la prison de Machava dans la région de Maputo.
20. Chapeau tressé République démocratique du Congo, 2011 Plastique, bois, fibres synthétiques H. 27,5 cm MICR/COL-2012-2-1
21. Figurine Argentine, 1982 Bois H. 15 cm MICR/COL-1992-37-5 Fabriquée par un opposant à la dictature militaire, cette figurine a été offerte par l’intermédiaire du frère du détenu à la déléguée qui le visitait.
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<< 48. Maquette de l’action humanitaire Rwanda, 2003 Bois, carton, papier, écorce de bananier 40 x 40 cm MICR/COL-2004-2-1 La maquette de la page précédente présente notamment, au premier plan, la prison de Gitarama avec ses détenus en tenue rose et, au milieu d’eux, une déléguée reconnaissable à son badge. Sur la gauche figure un programme en faveur des enfants des rues et sur la droite, un camp de réfugiés soutenu par l’UNHCR et l’Unicef. À l’arrière-plan sont représentées l’Association des personnes touchées par le virus du VIH/sida à Nyange, l’orphelinat du CICR et un centre de santé. On distingue des délégués et des véhicules avec l’emblème des différentes organisations, tels qu’une voiture du CICR, un hélicoptère des Nations unies ou un avion de l’UNHCR. Toutes les actions sont accompagnées d’une phrase inspirée par la Bible : CICR, grâce à l’amour et au zèle pour le soutien aux déprimés rwandais du monde entier, je vous souhaite la paix de Dieu. Pour cela, recevez ce cadeau souvenir. Matthieu 25 :31-40 [Le Jugement dernier] et Tessaloniciens 3 :16 [Paix du Seigneur].
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49. Savon Myanmar (Birmanie), 1999 Savon H. 10 cm MICR/COL-1999-115-1 Cette sculpture représente un détenu recroquevillé dans son cachot. Elle a été façonnée par Htein Lin, un artiste birman condamné à sept ans de prison pour ses liens présumés avec l’opposition. Après avoir participé au mouvement pour
la démocratie de 1988, il ne menait plus d’activités politiques à l’époque de son arrestation en 1998, privilégiant ses activités artistiques. Il a été libéré en 2004, lorsque le gouvernement a reconnu comme infondées les accusations portées contre lui. Le savon était l’un des seuls objets auxquels les détenus avaient droit dans la prison centrale de Mandalay, en plus de la nourriture, des habits et d’une brosse à dents.
50 et 51. Statuette Bosnie-Herzégovine, 1992 Bois H. 11,5 cm MICR/COL-2001-119-1
70. Moto Indonésie, 2006-2007 Papier mâché L. 33,5 cm MICR/COL-2009-21-2
C’est la représentation d’un détenu entravé, la tête recouverte et inclinée en avant, la position exigée par les gardiens du camp de Manjaca. L’inscription sur le socle dit : ENO 92 Dari manjaca, et celle sur le dos est le numéro d’enregistrement du détenu.
Ces modèles réinterprètent, par une technique développée par un détenu, les produits artisanaux en bois ou en métal que l’on retrouve sur les marchés indonésiens. Ces motos sont en général vendues pour 1 à 3 dollars aux membres des familles de détenus afin que ces derniers acquièrent des produits tels que du café ou des cigarettes.
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<< 72. Ceinture Yémen, 1995-1999 Textile, métal, or L. 80 cm MICR/COL-1999-95-1
73. Peigne Liban, 1983 Bois L. 13,5 cm MICR/COL-1992-22-5
Cette ceinture, dans laquelle les Yéménites portent leur jambiya, le poignard traditionnel, a été fabriquée dans les ateliers d’ergothérapie créés par le Croissant-Rouge yéménite et le CICR pour les détenus de la section psychiatrique de la prison centrale de Sanaa.
Peigne Liban, 1983 Bois L. 14 cm MICR/COL-1991-68-1 Peigne Liban, 1983 Bois L. 15 cm MICR/COL-1992-22-6
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74. Peigne Liban, 1983 Bois L. 26 cm MICR/COL-1992-22-3
| 61 |
71. Moto Indonésie, 2006-2007 Papier et carton provenant de paquets de cigarettes, fil de fer L. 33 cm MICR/COL-2009-21-1
| 100 |
75. Peigne Liban, 1983 Bois L. 17 cm MICR/COL-1992-22-4
| 101 |
87. Ceinture Israël, 1974 Papier argenté provenant de paquets de cigarettes L. 96 cm MICR/COL-1991-122-1
Ces peignes ont été fabriqués et décorés dans le camp d’Insar, au Sud-Liban. Leur bois provient des palettes et des caisses contenant la nourriture. Les motifs de ces peignes représentent tour à tour la distribution de nourriture, l’aide médicale, les visites des prisonniers, mais aussi la vision d’un monde dont le souvenir s’estompe peu à peu.
Confectionnée par un prisonnier de guerre syrien durant la guerre du Kippour.
88. Ceinture en macramé Nicaragua, 1980 Fibres synthétiques, plastique L. 102 cm MICR/COL-1992-37-12
89. Bracelet Liban, 1983 Cuivre, or D. 6,5 cm MICR/COL-1992-22-15 Bracelet Liban, 1993 Cuivre D. 7 cm MICR/COL-1992-22-14 Fabriqués dans le camp d’Ansar à partir du cuivre de la tuyauterie des sanitaires. La déléguée a fait dorer un des bracelets pour faire plaisir au détenu qui le lui avait offert. En effet, celui-ci était déçu de ne pas pouvoir lui offrir un bracelet en or « comme au dehors ».
90. Bracelet Cuba, 1988 Plastique D. 8,50 cm MICR/COL-1991-47-1
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[ C O N T E M P O R A RY A RT | P H OTO G R A P H Y ]
G ODA I . B AMBO O A RT | A RT DU B A MBO U TA N AB E C HIKU U NSA I IV A ND TA DAYU KI MINA MOTO Photographs by Tadayuki Minamoto Text by Shinya Maezaki
28 x 28 cm, 178 pages 90 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397815 £ 35.00 | US $ 45.00 | Can $ 48.00 | € 40.00
Co-published with Ethnic Arts - Galerie Mingei Japanese Arts, Paris
This book is dedicated to Godai, an installation by Japanese artist Tanabe Chikuunsai IV, who represents the fourth generation of a prestigious line of kagoshi (master wickerwork weavers) in Japan. Godai is a homage to nature and to a tradition of handcraftsmanship. This monumental work, six meters high and nearly as broad at its base, was installed in 2016 in the Rotunda of the Musée des Arts Asiatiques Guimet in Paris and presented to the public from April 12th through September 19th, when the artist still presented himself under the name of Tanabe Shouchiku III. The structure, composed of 8,000 small pieces of bamboo prepared in Japan, was extremely well received. It represents a world where the five elements, godoi, that make up our world (wind, water, earth, void and fire, according to Japanese tradition) intertwine. Tanabe couldn’t find a more suitable material. As a tough yet flexible material, bamboo has been part of the lives of people in Asia since ancient times and used for numerous purposes. But because of its great significance (it represents “principles, integrity and constancy”) it has also been represented in many historic paintings and used as a design motif in stationery and furniture. Tanabe Chikuunsai IV’s works are both historic and modern and invite a response from the viewer. His bamboo installations, presented in a form adapted to the space they are displayed in, induce viewers to be aware of and appreciate that space. Each work is dismantled at the end of the exhibition to leave just its memory. And the same bamboo is used for new installations, giving a tangible sense to the concepts of “continuity” and “rebirth” and providing a sense of connection with space that transcends time. Godai is no exception: a monumental and ephemeral work, like a piece of organic architecture, it transmits positive energy. Tanabe Chikuunsai IV, who was born Tanabe Takeo in Sakai (prefecture of Osaka) in 1973, was taught the art of bamboo from childhood by his father Chikuunsai III. Having studied in the Fine Arts department at the City Crafts High School in Osaka, then in the Sculpture Department at Tokyo’s University of the Arts, Tanabe carried out his apprenticeship for two years in the city of Beppu (prefecture of Oita). Once he had completed this training, he returned to his father in Sakai to perfect his expertise in the art of bamboo and adopted his first artist’s name, Shouchiku. He was the third artist to take this name, which means “small bamboo.” While continuing traditional bamboo weaving practices, he also developed the skills handed down in the Tanabe line, and created his own sculptures. In 2017, three years after the death of his father, he attained the name Chikuunsai IV, literally “bamboo cloud,” and thus perpetuated the dynasty of basket weavers of which he is the latest member. Shinya Maezaki, Associate Professor at Kyoto Women’s University, is doctor of art history and consultant for numerous Japanese and American museums. Tadayuki Minamoto, celebrated Japanese photographer, is the author of around one hundred books in Japan. His photographs, reproduced in this book, have the intention of capturing and transmitting this same energy, these very concepts.
[14] NEW TITLES
NEW TITLES [15]
[ O U T S I D E R A RT | P H OTO G R A P H Y ]
T H E P H OTO GR A P H A LBUMS O F JEA N DUBUFFET 1945–1963 Edited by Sarah Lombardi assisted by Vincent Monod Texts by Baptiste Brun, Nicolas Garnier, Karolina Lewandowska, Jean-Hubert Martin, Jérôme Pierrat and Michel Thévoz
28 x 21 cm, 824 pages 775 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397969 £ 85.00 | US $ 110.00 | Can $ 132.00 | € 100.00
Co-published with the Art Brut Collection, Lausanne
In the years 1945–63, Jean Dubuffet set about documenting his collection of Art Brut. He had the pieces photographed by recognised photographers on the Paris art scene, including Henry Bonhotal and Emile Savitry. But he also had pieces photographed that were not in his own collection, including works that interested him because, like Art Brut, they were marginal to the official art world. These notably include works of popular and naïve art, children’s drawings, tattoos, graffiti photographed by Brassaï and graphic works from the Solomon Islands. Dubuffet arranged these photographs of artworks by over a hundred artists—including Gaston Chaissac, Aloïse Corbaz, Joseph Crépin, Auguste Forestier, Somuk and Adolf Wölfli as well as anonymous artists—in extraordinary sequences contained in 14 albums (755 pages in total). These have been preserved since 1976 in the archives of the Collection de l’Art Brut, Lausanne. Classified by artist, the images document paintings, drawings, embroideries, sculptures and collages. In assembling this image archive in the years 1945–63, Dubuffet set up a dialogue between highly diverse forms of expression of his period, all of which diverged from the more familiar terrains of art history and culture. Sarah Lombardi, art historian, has been the full-fledged director of the Collection de l’Art Brut since March 2013. She gave priority to highlighting the museum collections: this included the creation of a new publication series titled “Art Brut, The Collection,” intended to accompany the Art Brut biennials. Baptiste Brun is a lecturer in the history of contemporary art at Rennes 2 University. He wrote a dissertation on Jean Dubuffet. Nicolas Garnier is an anthropologist and a researcher at the University of Papua-New Guinea from 2003 to 2016. He is currently in charge of the Oceania collections at the Musée du Quai Branly-Jacques Chirac, Paris. Karolina Ziebinska-Lewandowska is curator for the photography collection at the MNAM Centre Pompidou. In the years 1999–2010 she was curator at the Zacheta National Contemporary Art Gallery,Warsaw. She was also co-founder of the Photography Archaeology Foundation and its president until 2014. Jean-Hubert Martin is a French art historian, curator, institution director and exhibition curator. Throughout his professional career, he has worked towards broadening the way we look at contemporary art and fostering dialogue between cultures. Jérôme Pierrat, whose background is in history, is a journalist for the written press and television, specializing in organized crime. He is also chief editor of Tatouage magazine and the author notably of Mauvais garçons, portraits de tatoués, 1890-1930, published by La Manufacture de livres. Michel Thévoz, professor emeritus at Lausanne University, was curator at Lausanne’s Cantonal Museum of Fine Art from 1960 until 1975, then curator of the Art Brut Collection from its inception in 1976. He has written around twenty books on borderline subjects such as academicism, the art of the insane, Spiritism, mirror reflections, the Vaudois syndrome, infamy and suicide.
[16] NEW TITLES
[ O U T S I D E R A RT ]
B ODY A RT B RUT, T HE CO LLECT IO N Texts by Gustavo Giacosa and David Le Breton
20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover ISBN 9788874397884 £ 25.00 | US $ 40.00 | Can $ 45.00 | € 32.00
Co-published with the Art Brut Collection, Lausanne
Exhibition Art Brut Collection, Lausanne Art Brut: Biennale – Corps November 17, 2017 – April 29, 2018
In the same series:
ARCHITECTURE ISBN 9788874397105 £ 25.00 | US $ 40.00 Can $ 45.00 | € 32.00
[18] NEW TITLES
VEHICLES ISBN 9788874396580 £ 25.00 | US $ 40.00 Can $ 45.00 | € 32.00
This third volume (after Vehicles and Architecture) in the series titled Art Brut The Collection, accompanying the Biennales de l’Art Brut, includes only works from the Lausanne museum, some of which have rarely been exhibited. The book contains a large number of drawings, paintings, photographs and sculptures, reflecting the manifold representations of the human body in Art Brut, while paying close attention to the intimate relationship the artists have established with their creations.These works represent a sort of hand-to-hand combat; they are “battles” in which no quarter is asked or given between the creator and his own image and unique personal history. For some the body is the refuge of a complex intimacy, for others it is a prison from which to escape or even a storehouse of energy that needs to be set free and transformed. Rarely exhibited or published, Jean Dubuffet’s prisoners’ tattoos reveal how creations lying on the margins of art’s traditional subject matter held a magnetic attraction for the founder of the concept of Art Brut, the core of the Lausanne museum’s collection. The great “classics” of Art Brut, such as Aloïse Corbaz, rub shoulders with more recent discoveries, such as Eric Derkenne’s body-faces, or the all-powerful “nuclear trans-sexuality” of Giovanni Galli. The doubling of the self and a play of mirrors highlight the instinctive search for identity typical of Josef Hofer and Robert Gie. Whether dismembered and fragmented in Giovanni Bosco’s work, or tightly gathered in cosmic unity in Guo Fengyi’s creations, the body gives form to a perpetual flux that art can exploit to express existential experience. Gustavo Giacosa is an actor, theatre producer, choreographer and exhibition organiser. He began his training in 1991 under Pippo Delbono. In 2005, he founded the Contempor Art Cultural Association in Genoa and began exploring the relationship between art and madness in the various forms art takes, organizing several exhibitions on this topic, such as Banditi dell’arte at Halle Saint Pierre in Paris, and Eric Derkenne. Champs de bataille at Collection de l’Art Brut. Giacosa moved to France in 2012, where he founded his own theatre company: SIC.12. David Le Breton is professor of Sociology at the University of Strasbourg and a member of the Institut Universitaire de France.
[ C O N T E M P O R A RY A RT ]
M U LT I V E R SE A RT, DAN CE, DESIGN, T ECHNO LO GY: T HE EMER GENT CR EAT IO N Edited by Anna Yudina Texts by Diana Vishneva, Carlo Ratti, Toyo Ito, Francis Kurkdjian, Philippe Rahm, Angelin Preljocaj, John Neumeier, Ross Lovegrove, Iris Van Herpen, Enki Bilal, Carsten Nicolai, Marco Goecke, Bill Viola, Santiago Calatrava, Miguel Chevalier, Aes+F, Edouard Lock, Moses Pendleton, Aitor Throup, Olafur Eliasson, Raffaello D’Andrea, Nick Knight, William Forsythe, and Carolyn Carlson
24 x 28 cm, 272 pages 258 colour illustrations Hardcover with jacket ISBN 9788874397792 £ 50.00 | US $ 65.00 | Can $ 79.00 | € 60.00
Featuring visionary creators from various fields, from art and contemporary dance to architecture and robotics, this lavishly illustrated book reports from the forefront of the cross-disciplinary synthesis that creates new forms of art. The project was initiated by Diana Vishneva, principal dancer for the American Ballet Theater in New York and the Mariinsky Ballet in St. Petersburg and a tireless experimenter collaborating with the masters that define the future of dance. The book presents interviews with choreographers William Forsythe and Carolyn Carlson; photographer Nick Knight; artists Bill Viola and Olafur Eliasson; architects Toyo Ito and Santiago Calatrava; robotics inventor Raffaello D’Andrea, and other creators who actively stretch the conventional limits of their fields. Included in the volume is a DVD with an art film created for this project and using stateof-the-art technologies to translate the language of dance into that of cinema. Anna Yudina is an author and curator primarily interested in cross-border collaborations and intersecting interests between architecture, design, art, science, and other disciplines. She lives and works in Paris.
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T H E F I G U RAT IO N NA R R AT IV E Edited by Jean-Paul Ameline and Yan Schubert
24.7 x 27 cm, 288 pages 110 colour illustrations Hardcover ISBN 9788874397761 £ 50.00 | US $ 60.00 | Can $ 73.00 | € 55.00
Co-published with the Fondation Gandur pour l’Art, Geneva
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A new kind of figurative art appeared during the 1960s in Europe and the United States. While in New York pop art offered a fresh perspective on an America in the throes of frenzied change, in Paris French painters and others from Italy, Spain, Portugal, Germany and Iceland also began exploiting images that had their origins in advertising, cinema and the popular press. Grouped under the umbrella term Narrative Figuration, they soon became the uncompromising critics of what was dubbed the consumer society. They were for the most part politically committed artists and many of them were actively involved in the political agitation that led up to the events of May 1968 in France. Once standard bearers, the Narrative Figuration artists have now been rediscovered by museums, which, like the Centre Pompidou, are dedicating increasing numbers of exhibitions to their work. Thanks to the acquisition of major works, the collection of the Fondation Gandur pour l’Art in Geneva now provides what is without doubt one of the most exhaustive selections of works by Adami, Aillaud, Arroyo, Erró, Fromanger, Jacquet, Klasen, Monory, Rancillac, Schlosser, Stämpfli, Télémaque and Voss, to name a few. This catalogue includes all Narrative Figuration key works, with commentary and analysis by curators and art historians specializing in a movement that left an indelible mark on 1960s Europe. Jean-Paul Ameline was a curator at the Musée national d’art moderne de Paris (Centre Pompidou) from 1986 until 2013. He is a conservateur general du patrimoine and has organized numerous exhibitions, both in France and abroad. He curated the Figuration narrative, Paris, 1960-1972 exhibition, held at the Grand Palais in 2008. Yan Schubert has been the curator of the fine arts collection at the Fondation Gandur pour l’Art since 2011. Trained as a historian, he has taught at the universities of Geneva and Lausanne (2003-11) and has been a visiting researcher at the Haute École d’Art et de Design (HEAD) in Geneva (2012-14).
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I H AV E L O NGED TO MOV E AWAY L AW RE N CE C A R RO LL, WO R KS 1985–2017 Edited by Gianna A. Mina Contributions by Roberto Borghi, Lara Conte, Gianna A. Mina
22 x 29 cm, 208 pages 156 colour illustrations Softcover Bilingual edition English/Italian ISBN 9788874397723 £ 40.00 | US $ 50.00 | Can $ 61.50 | € 45.00
Co-published with the Museo Vincenzo Vela, Mendrisio-Ligornetto
Exhibition Museo Vincenzo Vela, Mendrisio-Ligornetto May 14 – October 15, 2017
This catalogue accompanies the monographic exhibition that Museo Vincenzo Vela, in Mendrisio-Ligornetto, has dedicated to the works of Lawrence Carroll (b. 1954). Born in Melbourne, Carroll moved to California with his family in 1958. Some twenty-five years later, in 1984 he moved once again, to New York, where he pursued his artistic development, having little concern for the fashions of the moment but a profound sense of personal commitment and dedication to the language and practice of painting. As he understands it, painting abuts on many other art forms: in his hands it becomes the slow stratification of colour, materials, and objects, in which the surface of the painting interacts with the surrounding environment, blurring the borders between painting, sculpture, and installation. Moving from place to place, Carroll has always been most at home in the quiet of his studio, which provides him with the intimacy he requires to express himself. Here he explores duration as the fragility of time and space, placing memory at the heart of his poetics. Old remembrances emerge on the surface, overlying each other layer upon layer, like an accumulation of light, dust and matter in pale colour fields—tones as close to the colour of the canvas as possible. Inherently porous as the surface is, one can make out graphemes and underlying traces, while objects are applied directly onto it.The result is a poetics of rarefied references, narratives that gradually form and are at the same time swathed in a metaphysical atmosphere of suspension, a sort of “metaphysics of the quotidian.” Designed like an autobiography installed in the rooms of the museum-house, the exhibition provides an overview of Carroll’s artistic development, from his earliest works to the present day, highlighting the subtle recurring themes as well as the fresh departures that have taken him on wholly new artistic journeys. The catalogue offers the first ever overall assessment of the artist’s work as it has evolved during his life. The book is lavishly illustrated, and includes a full biography and comprehensive bibliography, as well as providing an engaging interview with the artist. Gianna A. Mina is an art historian, director of Museo Vincenzo Vela, and president of the Association of Swiss Museums. Roberto Borghi is a curator of contemporary art exhibitions and a cultural journalist. Lara Conte is an art historian and teaches the History of Contemporary Art at the University of Insurbia, Como.
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C AR L OS LUNA Texts by Barbaro Martinez-Ruiz, Henry Drewal, Carol Damian, and Jack Rasmussen
30 x 29 cm, 180 pages 180 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874397426 ISBN| US 88-7439-742-6 £ 50.00 $ 60.00 | Can $ 73.00 | € 55.00
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Carlos Luna, one of the foremost contemporary Cuban award-winning painters, is part of a generation of Cuban artists who embrace their strong heritage and traditions but have reinvented themselves along the way. Thrumming with the spirit of Afro-Cuban tradition, Luna’s works range from jacquard tapestries, works on metal sheets, and Talavera ceramic plates to mixed media on wood and large-scale oil paintings. This monograph illustrates Luna’s blend of influences from living and working in Cuba until 1991, then in Mexico for 13 years, and now in Miami since 2002. This lavishly illustrated book will take readers through the artist’s amazing world made of bright colours and will show, by a selection of plates and details, some unpublished works as well as his renown masterpieces. Carlos makes visible the invisible, conveying messages and lessons from his past to offer to the present and future. His work is not on the surface, it is filled with subtle embedded messages. One must know the issues to decode. Often these messages are hidden in plain sight, lessons to be learned through reflection. His towering centerpiece, “El Gran Mambo,” a massive six-panel painting stood on display at the Museum of Latin American Art in 2008 serves as a focal point for 2015’s “Green Machine: The Art of Carlos Luna” at The Frost Art Museum in Carlos’s adopted home of Miami. Barbaro Martinez-Ruiz is Associate Professor - Section Head in the History of Art & Discourse of Art division at Michaelis School of Fine Art (Cape Town, South Africa). He also serves as editor for the Cuban Studies Magazine and for Harvard University’s Transition magazine and is a Pacific Standard Time LA/LA research fellow from 2014–17 at The Getty Research Institute, Los Angeles. Henry Drewal served as Curator of African Art at the Neuberger Museum-SUNYPurchase (1986), The Cleveland Museum of Art (1988–90), and Curator of African Art at the Toledo Museum of Art (1989). Since 1991 he has been the Evjue-Bascom Professor of Art History and Afro-American Studies at the University of Wisconsin-Madison and Adjunct Curator of African Art at the Chazen Museum of Art, UW-Madison. Carol Damian, is Professor of Art History in the Department of Art and Art History at Florida International University. She has also written articles and art catalogs about many Cuban and Cuban-American artists such as Wilfredo Lam, Cundo Bermúdez, Luis Cruz Azaceta, Agustín Fernández, Emilio Sánchez, and Humberto Calzada. Jack Rasmussen is the Director and Curator of the American University Museum at the Katzen Arts Center. He previously held Executive Director positions at di Rosa Preserve: Art & Nature, Maryland Art Place, and Rockville Arts Place. He was the owner and director of Jack Rasmussen Gallery in Washington, DC.
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F I F T Y Y E AR S O F CO LLECT ING P H OTO GR A P H S AT T H E N AT IO NA L GA LLERY O F C A NA DA Texts by Ann Thomas and John McElhone Interview by Marc Mayer and Ann Thomas with James W. Borcoman
24 x 30 cm, 272 pages 200 colour illustrations Hardcover ISBN 9788874398027 £ 30.00 | US $ 45.00 | Can $ 45.00 | € 40.00
Co-published with the National Gallery of Canada, Ottawa
Exhibition National Gallery of Canada, Ottawa May 4 – September 16, 2018
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A sumptuous celebration of one of the world’s most striking photograph collections. This publication celebrates fifty years of collecting photographs at the National Gallery of Canada. In 1967 when the collection was established the photography market was in its infancy and the collection reflects the availability of in-depth collections of work by some of the forefathers of the medium such as Charles Nègre, William Henry Fox Talbot, Gustave Le Gray and Roger Fenton among others. Within a few short years of starting to build the collection the science of photographic preservation and conservation was making remarkable strides and influencing the acquisition and exhibition of photographs in museums. This publication celebrates the collecting of photographs, the historical and art historical context of their making and the deepening of our understanding of their physical nature. 164 artists, such as: Benoit Aquin; Diane Arbus; Eugène Atget; Nicolas Baier; Edouard Baldus; Brassaï; Julia Margaret Cameron; Henri Cartier-Bresson; Lynne Cohen; Benjamin John Dancer; Walker Evans; Robert Frank; Lee Friedlander; Isabelle Hayeur; Arnaud Maggs; Robert Mapplethorpe; John Max; Lisette Model; Eadweard Muybridge; Charles Nègre; William McFarlane Notman; Marc Ruwedel; Jospeph Sudek; William Henry Fox Talbot; vernacular and news photographs by unknown photographers will be included. Ann Thomas, Senior Curator of Photographs, National Gallery of Canada. John McElhone, Chief, Conservation and Technical Research, Canadian Photography Institute. Marc Mayer, CEO and Director, National Gallery of Canada. James W. Borcoman, founding Curator of the photographs collection, at the National Gallery of Canada.
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[ P H OTO G R A P H Y ]
M Y T H I C A L DIA RY S C UL P TU R ES FRO M T HE FA R NESE CO LLECT IO N Photographs by Luigi Spina Texts by Philippe Daverio, Giovanni Fiorentino, Valeria Sampaolo and Luigi Spina
27.5 x 34 cm, 160 pages 120 trichrome illustrations Hardcover with jacket ISBN 9788874398010 £ 50.00 | US $ 70.00 | Can $ 84.00 | € 59.00
Co-published with Museo Archeologico Nazionale di Napoli, Naples
Mythical Diary is a visual journey through the classical sculpture of Museo Archeologico Nazionale di Napoli. It is a physical engagement with the marble bodies of myth. Through his black and white photography, Luigi Spina disassembles the limbs of the sculptures, emphasizing their curves and hidden eroticism, humanizing them to establish a dialogue with the observer. A sculpture is the sign of eternal, unchanging beauty: the only real evidence of the many lives that have passed and come to an end leaving a profound mark in the story of many other existences. For Spina, with his own vision of sculpture, a statue of Aphrodite is not merely a stereotypical portrayal of myth. In it are gathered the anxieties, dreams, hopes and joys of all those who have set eyes on her and dreamed or studied her. In a way, classical sculpture is profoundly present in our veins, in our very breath. The project takes the form of an imaginary diary covering fifteen days. But this is only an ephemeral period of time, a convention. The whole work developed over a period of days and months amounting to years, always in contact with the circumscribed space made of myriad lives and stories, which we call a museum. In Mythical Diary, Spina attempts to make classical sculpture interact with the viewer’s desire to be a part of this ancient world that has always influenced our way of life, our culture and our society, proving itself to be contemporary with any period. Luigi Spina (b. 1966) is a photographer from Naples. He participated at the ninth International Photography Festival in Rome and at MIAFAIR 2013 with his book-project The Buchner Boxes. With 5 Continents Editions he has published: The Buchner Boxes, The Dancers from the Villa dei Papyri, Memorie del Vaso Blu, Amazzonomachia, and Centauri He began his photographic portrayal of the Farnese collection of Classical sculptures for the Archaeological Museum of Naples in 2002. Philippe Daverio, art historian and art dealer, has been Head of Culture for the City of Milan from 1993 to 1997. Commentator for Panorama, Liberal, Vogue, People, he is the author and anchorman of the television program Passepartout (since January 2012 Il Capitale), a show on art and culture that has been very successful and has had considerable recognition from both critics and the public. Giovanni Fiorentino teaches at Tuscia University and works as a journalist for Il Messaggero and Il Mattino as well as being an author. He runs the Centro Meridionale di Educazione Ambientale in Sorrento. Valeria Sampaolo is Head Curator of the collections in the Museo Archeologico Nazionale di Napoli and the author of numerous articles and books. Her primary interest is the early excavations carried out in the area around Mount Vesuvius and the reconstruction of the settings illustrated in the museum frescoes, of which she has curated the new exhibition.
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P R E T I OS A V IT R EA TH E ART OF GLA SS MA NU FACT U R ING IN T HE MU SEU MS A N D P RIVAT E CO LLECT IO NS O F T U SC A NY Edited by Fabrizio Paolucci and Giandomenico De Tommaso Texts by Gabriella Capecchi, Luca Cappuccini, Giandomenico De Tommaso, Stefano Giuntoli, M. Cristina Guidotti, Fabrizio Paolucci, Mara Sternini
19 x 25.5 cm, 176 pages 124 colour illustrations Softcover Bilingual edition English/Italian ISBN 9788874398041 £ 30.00 | US $ 45.00 | Can $ 55.00 | € 35.00
Co-published with the National Archaeological Museum, Florence
Exhibition National Archaeological Museum, Florence October 2017 – January 2018
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Pretiosa Vitrea, whose title is inspired by the Latin definition of glass given by Gaius Petronius in the Satyricon written in the late 1st century AD, emphasizes the heritage of glass manufacturing through the showcase of artifacts currently housed in the state museums of Tuscany and in important private collections within the region. The quality of these 100 works is comparable in excellence to the artifacts that can be found in the most renowned international museums. The book brings together relevant archaeological finds of Roman glass manufacturing in Tuscany, such as the glass cameo from Torrita di Siena or the chrysography of Arezzo. Alongside these exclusive glass products, a wide variety of finds will be showcased to illustrate the evolution of mass production techniques, from the use of moulds to the discovery of the glass blowing technique in the middle of the 1st century BC, which soon showed clear advantages compared to traditional ceramic production in terms of lower cost and maintaining the taste of foods and liquids. Giandomenico De Tommaso is Adjunct Professor of Greek and Roman Archaeology and History at the University of Florence and assistant professor in the SAGAS department at the same university. His interests range from glassmaking’s many aspects to the problems associated with Greek and Roman pottery and the topography of Athens. Fabrizio Paolucci is the curator of the classical art collection at the Uffizi Gallery. His field of research ranges from fine glass produced in late antiquity to historical collections of antiquities and topics linked to marble colouring in the Roman world.
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_ K H AJ U R A H O IN D IA N TEMP LES A ND SENSU O U S SCU LP T U R ES Edited by Christophe Hioco and Luca Poggi Texts by Gilles Béguin Photographs by Iago Corazza
25.5 x 34 cm, 284 pages 280 colour illustrations Hardcover with jacket ISBN 9788874397785 £ 55.00 | US $ 80.00 | Can $ 97.00 | € 70.00
A privileged visual journey through one of the most famous Indian heritage sites. Situated in the northern Indian state of Madhya Pradesh, Khajurāho is renowned as much for the elegance of its architecture as for the sensuality of its sculpture. Khajurāho has become one of the unmissable sights for any traveller to India and owes its international reputation to the lavishness of its numerous Hindu shrines. Formerly an important political and religious centre, it is thought to have contained up to ninety-five temples, as the many ruins concealed under otherwise anonymous hillocks scattered throughout the valley attest. Only twenty-five survive.The earliest mention of Khajurāho dates from the seventh century. After the collapse of the Candella kingdom, the site experienced almost four centuries of oblivion and the once proud city-state turned into a sleepy village nestling in what had become an arid basin for several months in the year. British hunters rediscovered it quite by chance at the beginning of the nineteenth century. Since then the area has undergone several phases of restoration, as befits one of the leading sites of the world’s cultural heritage. The highly unusual nature of its temple depictions has given this area a somewhat “scandalous” reputation, unleashing, over the years, interpretations of all kinds. Gilles Béguin, Conservateur Général Honoraire du Patrimoine, was head of the Nepalese and Tibetan Buddhism collections at the Musée national des Arts asiatiques-Guimet from 1971 to 1994. He was then appointed director of the Musée Cernuschi, Musée des Arts de l’Asie de la Ville de Paris. Iago Corazza is a journalist and filmmaker but his main profession is photography. He has provided numerous photographic features for National Geographic, White Star and Oasis, as well as for various geographic and scientific publications. As a film director and director of photography, he has worked on a number of television programmes and documentaries for leading Italian and international broadcasters. Corazza is a UNICEF testimonial and collaborator, and when not on location he teaches photography.
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HEMBA Photographs by Luigi Spina With a text by Constantine Petridis
24.5 x 34 cm, 144 pages 120 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874398034 £ 50.00 | US $ 70.00 | Can $ 84.00 | € 60.00
Expressing one of many Luba sub-styles, the tall, standing male figures created by master carvers of the Hemba culture in southeastern Congo since at least the mid-1800s arguably rank among the noblest sculptural depictions of the human figure in sub-Saharan Africa. With their serene gaze and meditative expression, they exude a tranquillity and dignity that befits these idealized likenesses memorializing esteemed leaders of the past. Infused with a life-force or vital energy, these spirit-invested objects were able to communicate between the living and the dead. Thanks to their inner power they had the capacity to impact the material sphere by allowing the ancestors to positively influence the well-being of their surviving relatives. In this publication, through the perceptive lens of art photographer Luigi Spina, we discover nine of the most accomplished Hemba creations whose classical style has triggered comparisons with some kouroi sculptures of ancient Greece. Spina’s photographic interpretations help us understand why these proportionally balanced and symmetrically conceived ancestral figures have earned the admiration of African art lovers around the world. These personal readings of the beloved Hemba commemorative portraits also confirm why these sensitive renderings of the human anatomy deserve inclusion in the universal history of artistic creativity and a place in André Malraux’s “Museum Without Walls.” After a tenure of more than fourteen years at the Cleveland Museum of Art, Constantine Petridis joined the Art Institute of Chicago on November 1, 2016, as Curator of African art and Chair of the Department of the Arts of Africa and the Americas. A prolific editor and writer specialized in arts of Central Africa, Petridis most recently also contributed various essays to Frank Herreman’s Mumuye Sculpture from Nigeria: The Human Figure Reinvented, which was published by 5 Continents Editions in 2016. Luigi Spina (b. 1966) is a photographer from Naples. He participated in the ninth International Photography Festival in Rome and at MIAFAIR 2013 with his book-project The Buchner Boxes. With 5 Continents Editions he has published: The Buchner Boxes, The Dancers from the Villa dei Papyri, Memorie del Vaso Blu, Amazzonomachia, and Centauri He began his photographic portrayal of the Farnese collection of Classical sculptures for the Archaeological Museum of Naples in 2002.
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I N T I M AT E CO NV ER SAT IO NS A F RIC A N MINIAT U R ES Texts by Bérénice Geoffroy-Schneiter, Nicole and John Dintenfass Preface by Heinrich Schweizer Photographs by Vincent Girier-Dufournier
25 x 30 cm, 256 pages 220 colour illustrations Hardcover with jacket ISBN 9788874397464 £ 55.00 | US $ 75.00 | Can $ 91.00 | € 65.00
More than 130 works from the collection assembled by Drs Nicole and John Dintenfass over 50 years. The Dintenfass collection serves as a model and a source of inspiration for new and seasoned collectors alike. A different slant on collecting which is not actually just buying from dealers. A lavishly illustrated book that traces the origin of a collector’s interest in African art and analyses the psychological aspects driving the passions for collecting. The Nicole and John Dintenfass Collection is well known and based on aesthetics, and the works have been reproduced in many publications.They have collected with passion, diligence, depth and rigor monumental sculptures and wooden miniatures, from most regions of Africa. Focusing on pieces of the highest artistic quality, this book shares the collectors’ personal point of view about collecting and offers to readers anecdotes that provide an additional insight of this world to future and present collectors in their search for African art. Collecting is a passion that often leads to intimate inner conversations or to emotional experiences with the objects themselves. Moreover many collectors share their unique experience of joy and appreciation with 20th-century artists who also collected African art and who generously imparted advice, suggestions and support in responding to the collectors’ enthusiasm. Thanks to the multiple beautiful and sensitive photographs for each object the viewer has a chance to form an intimate conversation that creates a connection with those African master carvers that have strongly influenced modern realism, cubism and expressionism. John Dintenfass is vettor for African art exhibit, and a long time collector who has lectured on the aesthetics of African art and the psychology of collecting. He is assistant professor of psychiatry at Mt. Sinai Hospital, school of Medicine in New York. Nicole Dintenfass is a doctor of psychology and past director of training at the Karen Horney Institute. She is on the Faculty of the Mt. Sinai School of Medicine. Heinrich Schweizer was head of African and Oceanic Art at Sotheby’s, where he has been credited with introducing new cataloguing standards for African art. Bérénice Geoffroy-Schneiter trained as an art historian at the École du Louvre and studied ancient Greek at the Sorbonne. She is a journalist and an art critic. She published several books on tribal arts and personal adornment and co-curated the Paris exhibition Voyage dans ma tête, la collection de coiffes d’Antoine de Galbert (2010).
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K U L ANGO FIGUR INES W IL D AND MYST ER IO U S SP IR IT S F ROM T HE P IER LU IGI P ERO NI CO LLECT IO N Alain-Michel Boyer
23 x 23 cm, 240 pages 180 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397808 £ 35.00 | US $ 55.00 | Can $ 66.00 | € 48.00
In the same series:
Kulango Figurines. Wild and Mysterious Spirits is designed to introduce various miniature works created by the Kulango in northeastern Côte d’Ivoire, who were formerly vassals of the two kingdoms that inhabited the country (Bouna and Gyaman). Their extraordinarily varied art, which can be both intriguing and disconcerting, is relatively unknown. Their metal sculptures in particular display a strikingly free expressiveness, breaking as they do with the iconographic codes that govern their works in wood. Doing away with immobile remoteness, bodies seem to reinvent movement, sometimes adopting almost choreographic gestures, an airy grace, sinuous lines. Or, in trembling tension, some display unexpected twists and provocative curves, while others stretch out impossibly or offer a chance for virtuoso foreshortening and stylised bodies. Still others are even stranger, like Siamese twins, inseparable triplets, headless figures or figures with one head on two torsos, with one leg or four, webbed feet, outsize arms and hooped bodies. Who are these enigmatic beings whose bulging eyes peer at the invisible? Is the sculpture confined to just these specimens? The range of styles is simply astonishing, the forms beyond imagination. The collection includes over 100 figurines, none of which is over 10 cm tall: pendants, amulets, fortune tellers’ statuettes or weights for gold. Introduced into our world through the metamorphosis of photography, transfigured by lighting and framing effects, these resurrected works have been revitalised, like apparitions from another world. Alain-Michel Boyer studied anthropology and political sciences at the Institut d’Études Politiques in Paris. A Fulbright Scholar, he also holds a doctorate from the Sorbonne. He has taught at several universities in the United States. A former member of the Conseil National des Universités in Paris, he is now a professor emeritus of African art. He has done field research on many occasions in the Côte d’Ivoire, Mali, Ghana, Zimbabwe, among other places. Pierluigi Peroni was born in Italy in 1955. He earned a Master’s degree in Business and Economics from the Bocconi University in Milan. He currently manages a multinational company. Pierluigi Peroni has always nurtured great love for Africa and African art, which he studies and collects with attention and passion. He often travels to Africa and is specialized in African bronzes and African miniatures. He has written several articles and published five books on his collection of African art. He exhibited his collection of Kotoko bronzes in Milan in 2011 and in Belgrade from 2013 to 2014 as well as his collection of African miniatures in Krakow in 2016.
MICRO MONUMENTALITY ISBN 9788874397167 £ 35.00 | US $ 55.00 | Can $ 66.00 | € 48.00
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VISIO N S O F A FR I C A Series directed by Constantine Petridis, Curator of African art and Chair of the Department of the Arts of Africa and the Americas at the Art Institute of Chicago “Visions of Africa” is a series devoted to the arts of Africa, grouped according to the continent’s different peoples. Each volume follows two main themes: the first is visual and aesthetic, taking the form of a rich selection of approximately sixty-two photographs of masterpieces; while the second is theoretical and contextual, exploring the significance of these items within the population that created them. The series is meant both for readers wishing to discover the arts of these populations and for those who intend to learn more about them. Highly accessible, avoiding the intimidating feel of scientific literature, the books nonetheless contain significant annotated bibliographies and the most current data based on relevant field research. Author texts explore the origin of the items as well as the context of their use within the various African cultures. Their evolution and longevity are equally taken into consideration, often up to the present day. Contemporary and historical field photographs are reproduced XXXISBN 88-7439-762-4 throughout the body of the text. 9
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The Vision of Africa series won in 2016 the Prix Pilat for the Editorial Trajectory 788874 397624 awarded by Tribal Art Magazine in association with Sotheby’s. Exposition XXX
Out of print in the same series: BAMABA 9788874393480 BAULE 9788874393862 BENIN 9788874394104 FANG 9788874392957 LOBI 9788874393503
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The Tailormade project is the outcome of our passion for quality and the desire to increase appreciation of the vast and fascinating cultural heritage of the five continents by giving it a new, bespoke presentation. Tailormade, the new publishing line offered by 5 Continents Editions, combines our extensive publishing experience with highest quality printing and brings together a professional team whose common desire is to fashion a work of excellence. By creating elegant, unique and numbered editions, Tailormade re-establishes the link with the expertise of the past. Every book is meticulously crafted and sewn by hand, and will attract the attention of bibliophiles on the look-out for beauty.
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Constantly in search of Hidden Treasures, Tailormade unveils outstanding works that have sometimes gone unnoticed. It also gives new life to Icons, works by great masters, by casting a new eye on the forms and details used and offering an exclusive perspective. Finally, Tailormade goes behind the scenes of Haute Couture, a creative tradition, and reveals the events that occurred in the workshops and studios of its artists.
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The outcome of the inspiration of a creator, the eye of a photographer or the pen of an author, each book presents a different story woven around one or more unique works. It features its own graphic design, exceptional print quality and a unique binding so that the beauty of the content is matched by the excellence of its presentation. Tailormade loves beauty, nature, man and creativity. The human component is fundamental throughout the creative process and production phases of Tailormade projects, which is why each book has its own very special spirit. Production of the The Dancers from the Villa of the Papyri involved more than ten professionals. This unique book, box and original photograph presentation-holder were conceived as a perfectly matching set. The metal box alone required the contributions of four different craftsmen. The original photograph has been printed under the supervision of the photographer, Luigi Spina, in the city where the five young dancers are today kept.
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T H E DA N CER S FRO M T H E V ILLA O F T H E PA P Y R I Photographs by Luigi Spina Text by Stefano De Caro
Special boxed edition of 100 numbered copies each featuring an original photograph by Luigi Spina 23.5 x 33 cm, 192 pages 70 colour illustrations € 950.00 This edition de luxe is available only at the publisher’s
This precious limited edition offers the first presentation of the group of five Dancers from the Villa of the Papyri in Herculaneum, discovered beneath the ashes of the Vesuvius by archaeologist Karl Weber between 1754 and 1756. Adorned by more than one hundred marble and bronze sculptures and with a collection of over one thousand papyrus scrolls, the Villa of the Papyri is a unique discovery in the history of archaeology. The Dancers—today exhibited in the Archaeological Museum in Naples—were part of this enormous collection and displayed in the “villa of Otium” (villa of leisure) on the Gulf of Naples where the Roman aristocracy enjoyed the spirit of cultivated ease, literature and philosophy. The legendary site was the setting for many stories interrupted by the eruption of Vesuvius. The Dancers from the Villa of the Papyri takes us back in time to reveal one of these stories, that of the five fascinating bronze statues. Like many other archaeological finds at sites in Herculaneum and Pompeii, the Dancers have altered the way we consider art and architecture but also the way we look at aesthetics. The expert photographer Luigi Spina offers a visual description of these five extraordinary and moving young women, while Stefano De Caro relates the historic and artistic context in which they were created. The Dancers from the Villa of the Papyri is a timeless visual journey to discover the origin of beauty. Luigi Spina (b. 1966) is a photographer from Naples. He participated in the ninth International Photography Festival in Rome and at MIAFAIR 2013 with his book-project The Buchner Boxes. With 5 Continents Editions he has published: The Buchner Boxes, The Dancers from the Villa dei Papyri, Memorie del Vaso Blu, Amazzonomachia, and Centauri He began his photographic portrayal of the Farnese collection of Classical sculptures for the Archaeological Museum of Naples in 2002. Stefano De Caro, Director-General of ICCROM (International Centre for the Study of the Preservation and Restoration of Cultural Property) is an archaeologist, author, and lecturer. He has taught in several Italian universities. A member of various professional cultural associations in Italy and abroad, including the Europae Archaeologiae Consilium, he has been Director-General of Antiquities with the Italian Ministry of Cultural Heritage and Activities.
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PAB L O R EINO SO Texts by Gérard Wajcman and Henri-François Debailleux
LA LIQ UE GLO R IO U S GLA SS, MAGNIFICENT CRYSTA L Véronique Brumm
This book is the first important monograph dedicated to the work of Pablo Reinoso, a Franco-Argentinian artist and designer, a curious and largely self-taught jack-of-all-trades. Part French, through his mother, he left his native Argentina in 1978 and settled in Paris, where he worked on his art. He produces his works in series Articulations (1970–80), Water Landscapes (1981– 86), The Discovery of America (1986–89), Breathing Sculptures (1995–2002), Ashes to Ashes (2002), Thoneteando (begun in 2004), and Spaghetti Benches (begun in 2006). In his very latest series, Scribbling Benches (started in 2009), Reinoso no longer takes an anonymous bench, nor an iconic chair, as his point of departure, but a steel girder. The work plays on the unexpectedness of a solid, heavy object, a key structural component in architecture, that is made to twist like a piece of wire and turn into a bench suggesting airy, transparent, contemplative spaces.
The eight volumes in this box-set reveal the manifold creative talents of René Lalique, an exceptional artist, Art Nouveau jeweller, and later Art Déco glassmaker, as well as those of his successors and the many people who perpetuate these skills in the present day. Illustrating previously unpublished works, Lalique retraces the history of René Lalique and its founding family. For Lalique is above all a famous name: the name of René, “the inventor of the modern jewel,” as Emile Gallé described him at the close of the 19th century. From a very young age René Lalique enjoyed drawing, observing nature closely and making sketches. Lalique found an outlet for his creative genius in all sorts of everyday objects, including lamps, paperweights and tableware, magnifying their importance and rendering them wholly exceptional today.
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19.5 x 28.5 cm, 416 pages 360 colour illustrations 8 volumes in a boxed-set ISBN 9788874397402 £ 85.00 | US $ 125.00 | Can $ 152.00 | € 120.00 Co-published with the Lalique Museum, ISBN 88-7439-741-9 Wingen-sur-Moder
27.5 x 35.6 cm, 280 pages 307 colour illustrations Hardcover with jacket Bilingual edition English/French ISBN 9788874397525 £ 65.00 | US $ 90.00 | Can $ 108.00 | € 80.00
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ILLUSIONS THE ART OF MAGIC Edited by Suzanne Sauvage, Christian Vachon, and Marc H. Choko
T H E R I SE O F A BST R ACT IO N I N RU S SIA Andréi Nakov
T H E INT IMAT E WO R LD O F JO SEF SUDEK Edited by Ann Thomas, Ian Jeffrey, and Vladimír Birgus Texts by Ann Thomas, Ian Jeffrey, Vladimír Birgus, Vojteˇch Lahoda, Jan Mlcˇoch, Christophe Vischi, and Peter Bower With contributions from Josef Moucha, Petr Helbich, and Jan Strimpl
In 2015 the McCord Museum in Montreal, Canada, was gifted with the Allan Slaight Collection, one of the largest treasuries of posters and documents on magic in the world. This volume presents 250 exceptional posters dating from the 1880s to the 1940s. During this period, known as the Golden Age of Magic, droves of travelling magicians and prestidigitators fought a veritable advertising war. All over the United States and Europe, city walls and billboards were plastered with posters offering tantalizing previews of their most spectacular tricks, giving poster-designers and printers of the era a golden opportunity to flex their imaginations and load their work with devils and demons, skeletons and skulls, bodies and decapitated heads, playing-cards and rabbits, alluring assistants, phantasmagoria and esoteric symbols.
The Russian avant-garde movement is a common term denoting a most remarkable art phenomenon that flourished in Russia from 1890 to 1930 that covered art, literature, cinema, sculpture, architecture and political propaganda. Work from this period is easily recognizable thanks to bright colours, geometric shapes and bold lettering. This lavishly illustrated exhibition catalogue features six major works from renowned Russian avant-garde artists: Kazimir Malevich, Vladimir Tatlin, Ivan Kliun, Ilya Chashnik, El Lissitzky, and Liubov Popova. These works are accompanied by a selection of original documents, objects, manuscripts and photographs from the art historian and independent scholar Andréi Nakov’s private collection that will contribute to highlight the importance of this critical current in the formulation of modern art.
25 x 31 cm, 248 pages 250 colour illustrations Hardcover ISBN 9788874397587 £ 30.00 | US $ 49.95 | Can $ 59.95 | € 40.00 Co-published with the McCord Museum, Montreal
20.32 x 24.13 cm, 164 pages 139 colour illustrations Softcover with flaps ISBN 9788874397471 £ 30.00 | US $ 35.00 | Can $ 40.00 | € 32.00 Co-published with the National Gallery of Canada, Ottawa
An accessible, affordable monograph of the work of Czech photographer Josef Sudek (1896–1976) also known as “The Poet of Prague.” The book examines how Sudek’s photographs reflect his relationship to the world around him, from intimate explorations of his cherished objects and views through his window to his more expansive night walks through the streets of Prague and its outskirts, as well as excursions into the surrounding countryside. Josef Sudek’s fascination with light and its absence resulted in some of the 20th century’s most haunting images of nature, monuments, city streets and objects.
24 x 30 cm, 272 pages 230 colour illustrations Hardcover ISBN 9788874397358 £ 30.00 | US $ 45.00 | Can $ 45.00 | € 40.00 Co-published with the Canadian Photography Institute, National Gallery of Canada, Ottawa ISBN 88-7439-735-8
ISBN 88-7439-747-1
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ASIA I M AG I N E D IN THE B AU R A N D C A RTIE R C O LLE CT I O NS Edited by Estelle Niklès van Osselt Texts by Estelle Niklès van Osselt, Pascale Lepeu and Song Haiyang
A L F R E D B AUR P ION E E R AND CO LLECTO R Texts by Monique Crick, Helen Loveday, and Estelle Niklès van Osselt Photographs by Hughes Dubois
R E- ENV ISIO NING JA PA N MEIJI FINE A RT T EXT ILES Edited by John E. Vollmer Texts by John E. Vollmer, Sonia Ashmore, Will Chandler, Diane Genre, Takashi Hirota, Hiroko T. McDermott, Asako Nagakawa, Iwao Nagasaki, and Susan Tosk
As one leafs through the pages, Asia Imagined slowly becomes apparent, like a treasure hunt. Diamond-studded pagodas and pavilions, busy scholars beneath the starry sky, nacreous moonlight scenes, shimmering phoenixes, jade dragons, and multi-coloured cherry blossom-like gems depict an imaginary land. The Cartier magic has its effect. Side-by-side with the creations of the Parisian jeweller, the imperial porcelains, lacquerware embellished with precious metals, embroidered silks, jades, coloured enamels, netsuke, sword hilts, and prints belonging to the Baur Foundation give their version of the marvels of China and Japan and install a unique dialogue, offering an exceptional opportunity to view two of the world’s most outstanding collections.
25.5 x 34 cm, 336 pages 460 colour illustrations Hardcover with jacket ISBN 9788874397228 £ 60.00 | US $ 90.00 | Can $ 108.50 | € 80.00 Co-published with the Baur Foundation, Museum of Far Eastern Art, Geneva
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Published to celebrate the 150th anniversary of Alfred Baur’s birth (1865–1951) and the 50th anniversary of the Baur Foundation, Museum of Far Eastern Art, this book presents one of the major collections of Asian art through an opulent selection from the nine thousand Chinese and Japanese art objects. Sabre fittings, netsuke, lacquerware, prints, jades, and imperial ceramics: the illustrations show the diversity of the works and the quality of the collection as a whole. The precious Japanese objects, so meticulously worked and of technical perfection, reveal the outstanding skills of Japanese craftsmen, while the simplicity of the forms of the Chinese monochrome ceramics display the contemporaneity of the visionary master ceramists of the Song dynasty.
Re-envisioning Japan is the first truly comprehensive book about Japanese art textiles of the Meiji period. Lavishly illustrated, the book features the bijutsu sensho¯ku, or fine art textiles, that generated a flurry of excitement among international markets between the mid1870s and the second decade of the twentieth century. The collaboration of seven international scholars explores the craftsmanship and remarkable talent of the Meiji luxury textile producers, artists, and artisans and documents the reactions of consumers in Japan and abroad. This book showcases the spectacular ornamental textiles that were made for the Western market during Japan’s Meiji era (1868–1912) and now part of museum and private collections in Japan, Nor th America, and Europe.
Silver medal winner MGIP Book Award 2016
24 x 28.5 cm, 458 pages 360 colour illustrations Hardcover with jacket ISBN 9788874396931 £ 185.00 | US $ 280.00 | Can $ 350.00 | € 250.00 Co-published with the Baur Foundation, Museum of Far Eastern Art, Geneva
24.5 x 32.7 cm, 248 pages 287 colour illustrations Hardcover with jacket ISBN 9788874397396 £ 60.00 | US $ 80.00 | Can $ 97.00 | € 75.00 ISBN 88-7439-739-6
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THE CREATIVE GROWTH BOOK F RO M T HE O U TS ID E TO T HE I NSI D E. ARTIS TS WI T H D I SA B I L ITIE S TODAY Edited by Tom di Maria Introduction by Matthew Higgs Texts by David Byrne, Matt Haber, Adam Reed Rozan, Lucienne Peiry, Claire Daigle and Joyce Scott Photographs by Ann Collier and Cheryl Dunn
A R C H I T ECT UR E Edited by Sarah Lombardi Pascale Marini-Jeanneret, Laurent Danchin
V EH ICLES Edited by Sarah Lombardi Essays by Michel Thévoz and Anic Zanzi
Architecture, the second Art Brut Biennale, presents a selection of works from the Art Brut Collection (Lausanne), linked together by a common theme. Art Brut authors design architectures in resonance with their everyday lives or their memories, reorganizing the space around them according to their own rules and needs. Over 250 works by 52 creators of all origins—European, North American, or Asian—have been selected. The diversity at the heart of this concept can be seen in the many different forms and techniques used, such as painting, drawing, sculpture, and embroidery.
From the remarkable Art Brut Collection in Lausanne, Switzerland, comes Vehicles, the first book in an exciting new series. The Art Brut Collection has created the Biennale de l’Art Brut, a project that capitalizes on the diversity of this superb collection of more than 60,000 works by grouping a selection of them into themed exhibitions. As movement was a recurring theme in Art Brut, the first of these shows, titled Vehicles, features Motooka locomotives, Franz Kernbeis’s bicycle, Willem van Genk’s airships, and Auguste Forestier’s boats. The works represented here highlight a variety of approaches to motion in the form of sculptures, drawings, and constructions by more than 50 artists.
20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874397105 £ 25.00 | US $ 40.00 | Can $ 48.00 | € 32.00 Co-published with the Art Brut Collection, Lausanne
20.5 x 25.5 cm, 168 pages 130 colour illustrations Softcover with flaps ISBN 9788874396580 £ 25.00 | US $ 40.00 | Can $ 48.00 | € 32.00 Co-published with the Art Brut Collection, Lausanne
For more than forty years, the Creative Growth Art Center in Oakland, California, has been giving disabled adults the opportunity to make art. This book provides an expansive visual overview of the organization’s projects and artists. From its humble beginnings in its founders’ home to its current international design, museum, and fashion partnerships, the book is a visual history of Creative Growth’s most noted projects and artists. Published with the support of The Andy Warhol Foundation for the Visual Arts, this publication provides critical information about how the art of people with developmental disabilities is being increasingly recognized as an important part of the contemporary art world.
20.3 x 25.4 cm, 208 pages 220 colour illustrations Hardcover ISBN 9788874397266 £ 30.00 | US $ 45.00 | Can $ 55.00 | € 40.00 Co-published with the Creative Growth Art Center, Oakland, California
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A FR IC A N A RT P O RT R A IT S O F A CO LLECT IO N Edited by Patrick Caput and Valentine Plisnier Texts by Alain-Michel Boyer, Patrick Caput, Lorraine Gallimardet, Frank Herreman, Robert Neuburger, Valentine Plisnier, and Germain Viatte This gorgeous book highlights seventy works from one of the finest private collections of African art from West and Central Africa, through South Africa and Madagascar, built over more than four decades with discipline, curiosity, and passion. A whole chapter is dedicated to some important avant-garde photography masterpieces. Nine objects are shown side by side with renown works from Alfred Stieglitz, Man Ray, Lajos Kassák, Hannah Höch, Erwin Blumenfeld, Maurice Tabard, Karl Blossfeldt and Robert Doisneau. The present volume unveils to the public a selection of seven contemporary artists-photographers who have been asked to represent in a contemporary and personal style for the first time nine renowned works.
28 x 28 cm, 332 pages 237 colour illustrations Hardcover Bilingual edition English/French ISBN 9788874397440 £ 70.00 | US $ 100.00 | Can $ 122.00 | € 90.00 ISBN 88-7439-744-0
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MUMUYE. SCULPTURE FRO M N I G E R I A T HE HU M A N F IG URE R E I N VE NT E D Text by Frank Herreman, with a contribution by Constantine Petridis
G U RO Anne-Marie Bouttiaux
EMBO DIED SP IR IT S GO P E BOA R DS FRO M T HE PA P UA N GU LF Edited by Virginia-Lee Webb Essays by Virginia-Lee Webb, Thomas Schultze-Westrum, and Robert L. Welsch
Through forty-one masterworks, Mumuye reveals some of the most accomplished statues made by this Nigerian tribal group. It was not until the late 1960s that statues from the Mumuye culture of northeastern Nigeria appeared on the European art scene. Their impact was immediate and profound: African art aficionados marvelled at Mumuye artists’ abstract interpretation of the human body, which recalled the approach to anatomy by artists of the cubist and expressionist movements. Indeed, anthropomorphic Mumuye figure sculptures demonstrate an astonishing range of variations, testifying to their makers’ unbridled creativity and limitless inventiveness. Through a selection of masks and other objects, this book reveals the beauty of Mumuye figurative sculpture.
24.5 x 34 cm, 128 pages 80 colour and 30 b/w illustrations Hardcover ISBN 9788874397433 £ 60.00 | US $ 90.00 | Can $ 118.00 | € 75.00
Art lovers well know the works of the different groups of peoples generally referred to as “Guro” who live in the centre of the Côte d’Ivoire. Masks have a particular importance that goes well beyond the value attributed to them for their aesthetic qualities on the art market. These objects might even be considered emblematic, having till now allowed those who have defined themselves as Guro to lay claim to this identity. By diversifying the categories of masks between those that receive blood sacrifices to honour spiritual entities and those made more for entertainments given at funerals, political demonstrations, and tourist events, the Guro have reinvented, regalvanized, and readapted perfectly integrated rituals to a contemporary society in permanent change.
16.5 x 24 cm, 152 pages 60 colour and 21 b/w illustrations Softcover ISBN 9788874397327 £ 27.95 | US $ 39.95 | Can $ 47.95 | € 35.00
A fascinating collection of the wooden ritual objects called “spirit boards” made in the Papuan Gulf of New Guinea. Traditionally, boards were made with wood from discarded canoes, usually decorated with carved and painted designs on one side. Embodied Spirits is the first book devoted exclusively to the subject, and presents the numerous styles of spirit boards. Fullpage colour photographs illustrate the boards of each region, selected from noted international and private collections. The description includes detailed collection history, provenance, publication, and exhibition information for each work. Additionally, contextual historical photographs show the actual spirit boards in situ or similar examples from corresponding time periods.
24 x 35.5 cm, 356 pages 222 colour and b/w illustrations Hardcover with jacket ISBN 9788874397051 £ 90.00 | US $ 140.00 | Can $ 168.00 | € 125.00
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A VERY ENGLISH SWISS Samuel Hieronymus Grimm (1733 – 1794) 22 x 27 cm, 224 pages, 75 colour illustrations, softcover ISBN 9788874396627 £ 29.99, US $ 45.00, Can. $ 52.00, € 35.00
MONET A Bridge to Modernity 30 x 25 cm, 104 pages 62 colour illustrations, hardcover Bilingual: English and French ISBN 9788874397198 £ 19.99, US $ 30.00, Can $ 36.00, € 25.00
METAMORPHOSES In Rodin’s Studio 24.5 x 35.5 cm, 304 pages 475 colour illustrations, hardcover ISBN 9788874397150 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00
INDIAN CONTEMPORARY ART Contemporary, One Word, Several Worlds 24 x 28.5 cm, 248 pages, 210 colour illustrations, hardcover ISBN 9788874396276 £ 37.50, US $ 55.00, Can. $ 62.00, € 45.00
AGUSTÍN FERNÁNDEZ The Metamorphosis of Experience 29 x 30 cm, 260 pages, 220 colour illustrations, hardcover ISBN 9788874396306 £ 48.00, US $ 75.00, Can. $ 86.00, € 59.00
ISAMU NOGUCHI / QI BAISHI / BEIJING 1930 23 x 28 cm, 144 pages, 75 colour illustrations, softcover ISBN 9788874396399 £ 25.00, US $ 40.00, Can. $ 45.00, € 30.00
ONOBRAKPEYA: MASKS OF THE FLAMING ARROWS 24 x 30 cm, 400 pages, 475 colour illustrations, hardcover ISBN 9788874396696 £ 65.00, US $100.00, Can. $ 115.00, € 80.00
ARTISTS OF NIGERIA 24 x 30 cm, 680 pages, 1,158 colour illustrations, hardcover ISBN 9788874395477 £ 65.00, US $ 95.00, Can. $ 109.00, € 80.00
LOOKING UPTM... Yinka Shonibare, MBE 21 x 21 cm, 176 pages, 100 colour illustrations, softcover Bilingual: English and French ISBN 9788874395644 £ 24.95, US $ 34.95, Can. $ 41.95, € 29.00
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CHARLOTTE PERRIAND AND PHOTOGRAPHY A Wide-Angle Eye 24 x 28.5 cm, 368 pages, 438 colour and duotone illustrations, hardcover ISBN 9788874395484 £ 45.00, US $ 70.00, Can. $ 84.00, € 59.00
SLASH Paper under the Knife 20.5 x 25.5 cm, 224 pages, 230 colour illustrations, softcover ISBN 9788874395293 € 35.00, US $ 45.00, Can. $ 58,50, £ 30.00
BÊTES DE STYLE / ANIMALS WITH STYLE 17 x 22 cm, 160 pages, 80 colour illustrations, softcover ISBN 9788874393459 € 30.00, US $ 35.00, Can. $ 39.00, £ 18.00
IN ROME’S LIGHT. Con la luce di Roma 22 x 29 cm, 256 pages 231 colour illustrations, softcover ISBN 9788874397389 £ 65.00, US $100.00, Can $ 115.00, € 45.00
TELLING TIME. L’ÉLOGE DE L’HEURE 21 x 26 cm, 224 pages 219 colour illustrations, hardcover Bilingual: English and French ISBN 9788874397204 £ 30.00, US $ 45.00, Can $ 55.00, € 40.00
THE GREAT WAR The Persuasive Power of Photography 28 x 28 cm, 144 pages, 87 colour illustrations, hardcover ISBN 9788874396788 £ 25.00, US $ 40.00, Can $ 45.00, € 35.00
CARAVANSERAI 30 x 21 cm, 180 pages, 90 duotone and colour illustrations, hardcover ISBN 9788874396047 £ 32.50, US $ 50.00, Can. $ 57.50, € 40.00
LABORATORY OBSESSION 22 x 18 cm, 96 pages, 50 colour illustrations, hardcover Bilingual: English and Italian ISBN 9788874395408 £ 26.00, US $ 40.00, Can. $ 48.00, € 29.00
ITALIAN DESIGN 21 x 21 cm, 160 pages, 135 colour illustrations, softcover ISBN 9788874394906 £ 14.99, € 29.00
AMERICAN DESIGN 21 x 21 cm, 160 pages, 135 colour illustrations, softcover ISBN 9788874394913 £ 14.99, € 29.00
JAPANESE DESIGN 21 x 21 cm, 160 pages, 135 colour illustrations, softcover ISBN 9788874394920 £ 14.99, € 29.00
BRITISH DESIGN 21 x 21 cm, 144 pages, 100 colour illustrations, softcover ISBN 9788874395392 £ 14.99, € 29.00
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BAMUM 16.5 x 24 cm, 160 pages, 64 colour and 15 b/w illustrations, softcover ISBN 9788874395736 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
IGBO 16.5 x 24 cm, 160 pages, 62 colour and 21 b/w illustrations, softcover ISBN 9788874396320 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
KOTA 16.5 x 24 cm, 168 pages, 60 colour and 18 b/w illustrations, softcover ISBN 9788874396078 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
KUBA 16.5 x 24 cm, 144 pages, 62 colour and 14 b/w illustrations, softcover ISBN 9788874394043 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
LUBA 16.5 x 24 cm, 148 pages, 63 colour and 23 b/w illustrations, softcover ISBN 9788874392971 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
MOSSI 16.5 x 24 cm, 144 pages, 46 colour and 20 b/w illustrations, softcover ISBN 9788874397006 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
PENDE 16.5 x 24 cm, 128 pages, 46 colour and 9 b/w illustrations, softcover ISBN 9788874393848 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
PUNU 16.5 x 24 cm, 160 pages, 62 colour and 18 b/w illustrations, softcover ISBN 9788874394012 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
YAKA 16.5 x 24 cm, 136 pages, 62 colour and 18 b/w illustrations, softcover ISBN 9788874395156 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
YORUBA 16.5 x 24 cm, 160 pages, 60 colour and 18 b/w illustrations, softcover ISBN 9788874395873 £ 27.95, US $ 39.95, Can $ 47.95, € 35.00
ARTS OF NIGERIA IN FRENCH PRIVATE COLLECTIONS 24 x 28 cm, 288 pages, 200 colour illustrations, hardcover ISBN 9788874395811 £ 42.00, US $ 65.00, Can. $ 75.00, € 55.00
AFRICAN FETISHES AND ANCESTRAL OBJECTS 24 x 28.5 cm, 288 pages, 163 colour illustrations, hardcover Bilingual: English and French ISBN 9788874396542 £ 50.00, US $ 75.00, Can. $ 86.00, € 59.00
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SENUFO UNBOUND Dynamics of Art and identity in West Africa 24 x 28.5 cm, 288 pages, 286 colour illustrations, hardcover ISBN 9788874396665 £ 45.00, US $ 75.00, Can $ 86.00, € 60,00
VISIONS OF GRACE 25 x 30 cm, 256 pages, 125 colour illustrations, hardcover ISBN 9788874396863 £ 40.00, US $ 60.00, Can $ 69.00, € 50.00
MICRO MONUMENTALITY 23 x 23 cm, 272 pages, 245 colour illustrations, hardcover Bilingual: English and French ISBN 9788874397167 £ 35.00, US $ 55.00, Can $ 66.00, € 48.00
WOODEN DREAMS East African Headrests 24 x 28 cm, 240 pages, 268 colour illustrations, hardcover with jacket ISBN 9788874397068 £ 35.00, US $ 50.00, Can $ 61.50, € 45.00
BABEMBE SCULPTURE 24 x 28.5 cm, 212 pages, 140 colour illustrations, hardcover ISBN 9788874395446 £ 50.00, US $ 90.00, Can. $ 117.00, € 60.00
THE SILENCE OF THE WOMEN: BAMANA MUD CLOTHS 20 x 26 cm, 320 pages, 132 colour illustrations, hardcover ISBN 9788874396702 £ 45.00, US $ 75.00, Can. $ 86.00, € 55.00
THE ART OF DAILY LIFE Portable Objects from Southern Africa 24 x 28.5 cm, 112 pages, 100 colour illustrations, softcover ISBN 9788874395781 £ 20.00, US $ 30.00, Can. $ 36.00, € 25.00
POWERFUL HEADDRESSES Africa | Asia 24 x 28.5 cm, 200 pages, 142 colour illustrations, hardcover Bilingual: English and French ISBN 9788874395514 £ 55.00, US $ 85.00, Can. $ 102.00, € 55.00,
MAKING HISTORY African Collectors and the Canon of African Art 24 x 29.7 cm, 320 pages, 300 colour illustrations, hardcover ISBN 9788874395712 £ 45.50, US $ 70.00, Can. $ 72.00, € 59.00,
AFRICAN COSTUMES AND TEXTILES 24 x 29.7 cm, 320 pages, 300 colour illustrations, hardcover ISBN 9788874394760 £ 45.00, US $ 70.00, Can. $ 84.00, € 59.00
BISMARCK ARCHIPELAGO ART 27.5 x 35.5 cm, 328 pages, 210 colour illustrations, hardcover ISBN 9788874396597 £ 100.00, US $ 165.00, Can. $ 190.00, € 125.00
SOLOMON ISLANDS ART The Conru Collection 25 x 31 cm, 200 pages, 130 colour illustrations, hardcover ISBN 9788874394937 £ 60.00, US $ 125.00, Can. $ 135.00, € 80.00
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CHARMS IN PRE-COLUMBIAN ECUADOR 21 x 21 cm, 148 pages, 140 colour illustrations, softcover ISBN 9788874395910 Bilingual: English and Spanish £ 24.95, US $ 34.95, Can. $ 41.95, € 29.00
THE WORLD OF SPIRITS IN PRE-COLUMBIAN ECUADOR 19 x 26 cm, 228 pages, 257 colour illustrations, softcover Bilingual: English and Spanish ISBN 9788874395965 £ 30.00, US $ 45.00, Can. $52.00, € 35.00
PERU Kingdoms of the Sun and the Moon 24 x 28 cm, 380 pages, 320 colour illustrations, hardcover ISBN 9788874396290 £ 42.00, US $ 65.00, Can. $ 72.00, € 55.00
THE WORLD THAT WASN’T THERE Pre-Columbian Art in the Ligabue Collection 26 x 31 cm, 362 pages, 210 colour illustrations, hardcover ISBN 9788874397013 £ 48.00, US $ 75.00, Can $ 91.00, € 65.00
ANCIENT AMERICAN ART 3500 BC – AD 1532 24 x 29.5 cm, 392 pages, 280 colour illustrations, hardcover ISBN 9788874395545 £ 60.00, US $ 90.00, Can. $ 108.00, € 80.00
PRE-COLUMBIAN ART The Barbier-Mueller Collection 23 x 30 cm, 644 pages, 663 colour illustrations, hardcover two volumes + Sotheby’s catalogue Bilingual: English and French ISBN 9788874396467 £ 125.00, US $ 200.00, Can. $ 230.00, € 150.00
WOOD SCULPTURE IN NEPAL Jokers and Talismans 24 x 28 cm, 168 pages, 140 colour illustrations, hardcover ISBN 9788874395095 £ 40.00, US $ 75.00, Can. $ 85.00, € 55.00
GOLD, SILVER AND BRASS Jewellery of the Batak in Sumatra, Indonesia 26 x 30 cm, 192 pages, 215 colour illustrations, hardcover ISBN 9788874396269 £ 35.50, US $ 55.00, Can. $ 62.00, € 45.00
TEXTILES FROM BORNEO Iban, Kantu, Ketungau, and Mualang Peoples 24.5 x 32.7 cm, 224 pages, 181 colour illustrations, hardcover ISBN 9788874396511 £ 50.00, US $ 75.00, Can. $ 86.00, € 59.00
FASHIONING KIMONO Dress and Modernity in Early Twentieth-century Japan 24 x 28.5 cm, 328 pages, 190 colour illustrations, hardcover ISBN 9788874392711 £ 30.00, US $ 45.00, Can. $ 55.00, € 39.55
JAPANESE BUDDHIST TEXTILES 22.5 x 28 cm, 336 pages, 410 colour illustrations, hardcover Bilingual: English and French ISBN 9788874396450 £ 100.00, US $ 160.00, Can. $ 185.00, € 120.00
THE JEWISH WARDROBE From the Collections of the Israel Museum, Jerusalem 24 x 28 cm, 368 pages, 350 colour illustrations, hardcover ISBN 9788874396023 £ 48.50, US $ 75.00, Can. $ 86.00, € 60.00
[ 6 0 ] C ATA L O G U E
[ P H OTO C R E D I T S A N D C O P Y R I G H T S ]
NEW TITLES
Maisonneuve, Hyppolite, Jean Stas”
pp. 6–7 Luciano Romano, Scala #1591II, V enezia,
assembled by Jean Dubuffet, ca. 1948,
trotting, harnessed to sulky, c. June 1884–11
2013. Convento della Carità, Gallerie
with the photograph (no. 333)
May 1886, printed November 1887.
dell’Accademia, Andrea Palladio, 1591
of sculptures by Henri Salingardes,
Collotype, 48.4 x 61.3 cm; image:
© Luciano Romano
24 x 33.5 cm. Photo: Giuseppe Pocetti,
18.3 x 40.9 cm. National Gallery
Heidi Meister, photographer, Joan Mitchell
Atelier de numérisation – Ville de
of Canada, Ottawa. Gift of Dr. Robert
and Jean-Paul Riopelle in the living room of
Lausanne © Archives de la Collection
W. Crook, Ottawa, 1981. Photo:
p. 8
the studio-apartment on Rue Frémicourt, Paris, 1963. Joan Mitchell Foundation
p. 9
de l’Art Brut, Lausanne
Wilson, Xavier Parguey, Joseph Crépin,
top: Joan Mitchell, Piano mécanique, 1958,
Maisonneuve, Hyppolite, Jean Stas”
oil on canvas, 198.1 × 325.1 cm. National
assembled by Jean Dubuffet, ca. 1948, with
Gallery of Art, Washington, DC. Gift
the photograph (no. 444) of a sculpture by
p. 30
of Addie and Sidney Yates (1996.142.1).
Pascal-Désir Maisonneuve, 24 x 33.5 cm.
pp. 32–33 © Angelo Garoglio
© Estate of Joan Mitchell.
Photo: Giuseppe Pocetti,
p. 35
© Iago Corazza (detail)
Photo: Hirshhorn Museum and Sculpture
Atelier de numérisation – Ville de Lausanne
p. 37
© Luigi Spina
Garden, Smithsonian Institution,
© Archives de la Collection de l’Art Brut,
p. 39
© Vincent Girier-Dufournier
Lausanne
p. 40
© Francesco Pachì
bottom: Jean-Paul Riopelle, Avalanche,
p. 19
Steps, 1903. Platinum print, 23.4 x 19.1 cm;
National Gallery of Canada, Ottawa. Photo: © National Gallery of Canada, Ottawa (detail) © Luigi Spina
Ted Gordon, Untitled, 1979. Felt pen
1957, oil on canvas, 200 × 300 cm. Power
and ballpoint pen on paper, 26.7 x 20.2 cm
Corporation of Canada Collection,
© Collection de l’Art Brut, Lausanne
TA I L O R M A D E
Montréal. © Estate of Jean Paul Riopelle /
p. 20
Marco Goecke, Tué. Photo © Irina Tuminene
p. 45
© Luigi Spina
SODRAC (2017). Photo: Musée national
p. 21
Carolyn Carlson, Woman in a Room.
p. 46
© Giovanni Battista Righetti, Milan, 2015
Photo © Nikolay Krusser
pp. 47–49 © Luigi Spina
p. 23
Charles Schreyvogel, New York 1861–Hoboken, New Jersey, 1912 150.5 x 117.5 cm. Gilcrease Museum, Tulsa,
Klasen, Nu de face. Photo: Sandra Pointet © Fondation Gandur pour l’Art, Genève
p. 25
The Fight for Water, 1909, oil on canvas, p. 27
Lawrence Carroll, Untitled, 2015, Photo:
RECENT TITLES
Antonio Maniscalco © Carroll Studio
p. 54
Coco Fronsac, Voulez-vous m’épouser?,
Carlos Luna, Bailaora, 2015.
from the series “Chimères et merveilles”,
Oklahoma: Gift of the Thomas Gilcrease
Jacquard tapestry 256.5 x 216 cm approx.
2015, gouache on an old photograph,
Foundation, 1955, Inv. 0127.1253. Photo
© Carlos Luna (detail)
36 x 27 cm. © Coco Fronsac (detail)
© Gilcrease Museum, Tulsa, Oklahoma
p. 17
Frederick H. Evans, Wells Cathedral: A Sea of
SODRAC (2017); © Heidi Meister
Idra Labrie
p. 15
© National Gallery of Canada, Ottawa p. 29
album “Salingardes, Benquet, Scottie
des Beaux-Arts du Québec, Québec / p. 11
bottom: page from the photographic
bottom: Eadweard Muybridge, “Katydid”
Archives © Succession Jean Paul Riopelle /
Washington, DC / Cathy Carver
p. 28
top left: Julia Margaret Cameron,
Tadayuki Minamoto © Ethnic Arts –
Mrs. Duckworth (Mrs. Leslie Stephen),
Galerie Mingei Japanese Arts, Paris (detail)
April 1867. Albumen silver print,
TA I L O R M A D E
top: page from the photographic album
27.4 x 21.9 cm, National Gallery of Canada,
Luciano Romano, Scala #1943. Naples, 2010
“Salingardes, Benquet, Scottie Wilson,
Ottawa. Photo: © National Gallery
Napoli sotterranea, 1943 © Luciano Romano
Xavier Parguey, Joseph Crépin,
of Canada, Ottawa
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[INDEX]
New titles in bold
Gold, Silver And Brass. Jewellery of the Batak in Sumatra, Indonesia (60)
African Art. Portraits of a Collection (54) African Costumes and Textiles (59)
Great War, The. The Persuasive Power of Photography (57)
African Fetishes and Ancestral Objects (58)
Guro – Visions of Africa (43, 55)
Agustín Fernández. The Metamorphosis
Hemba (36)
of Experience (56) Alfred Baur, Pioneer and Collector (52)
I have longed to move away. Lawrence Carroll, Works 1985–2017 (24)
Mumuye Sculpture from Nigeria. The Human Figure Reinvented (55) Mythical Diary. Sculptures from the Farnese Collection (30) Once Upon a Time . . . The Western: A New Frontier in Art and Film (10) Onobrakpeya: Masks of the Flaming Arrows (56) Pablo Reinoso (50)
American Design – MoMA Design Series (57)
Igbo – Visions of Africa (43, 58)
Pende – Visions of Africa (42, 58)
Ancient American Art. 3500 BC – AD 1532 (60)
Illusions. The Art of Magic (51)
Peru. Kingdoms of the Sun and the Moon (60)
Architecture – ART BRUT The Collection (18, 53)
In Rome’s Light. Con la Luce di Roma.
Photograph Albums of Jean Dubuffet, The (16)
Art of Daily Life, The. Portable Objects from Southern Africa (59) Artists of Nigeria (56)
Photographs from 1840 to 1870 from
Powerful Headdresses. Africa | Asia (59)
the Marco Antonetto Collection. Fotografie
Pre-Columbian Art. The Barbier-Mueller
dal 1840 al 1870 nella collezione
Arts of Nigeria in French Private Collections (58)
Marco Antonetto (57)
Asia Imagined in the Baur and Cartier Collections
Indian Contemporary Art (56)
(52)
Intimate Conversations. African Miniatures (38)
Collection (60) Pretiosa Vitrea. The Art of Glass Manufacturing in the Museums and Private Collections of Tuscany (32)
Babembe. Sculpture (59)
Intimate World of Josef Sudek, The (51)
Bamana – Visions of Africa (42)
Isamu Noguchi | Qi Baishi / Beijing 1930 (56)
Bamum – Visions of Africa (42, 58)
Italian Design – MoMA Design Series (57)
Baule – Visions of Africa (42)
Japanese Buddhist Textiles (60)
Punu – Visions of Africa (43,58)
Bénin – Visions of Africa (42)
Japanese Design – MoMA Design Series (57)
Re-envisioning Japan. Meiji Fine Arts Textiles (52)
Bêtes de Style | Animals with Style (57)
Jewish Wardrobe, The. From the Collections
Rise of Abstraction in Russia, The (51)
Bismarck Archipelago Art (59) Bodies – ART BRUT The Collection (18) British Design – MoMA Design Series (57)
of the Israel Museum, Jerusalem (60) Khajurāho. Indian Temples and Sensuous Sculptures (34)
Prisoners’ Objects. Collection of the International Red Cross and Red Crescent Museum (12)
Senufo Unbound. Dynamics of Art and Identity in West Africa (59) Silence of the Women: Bamana Mud Cloths,
Caravanserai (57)
Kota – Visions of Africa (42, 58)
Carlos Luna (26)
Kuba – Visions of Africa (43, 58)
Slash. Paper under the Knife (57)
Charlotte Perriand and Photography.
Kulango Figurines. Wild and Mysterious Spirits
Solomon Islands Art. The Conru Collection (59)
A Wide-Angle Eye (57)
(40)
Charms in Pre-Columbian Ecuador (60)
Laboratory Obsession (57)
Chokwe – Visions of Africa (43)
Lalique. The Genius of Glass, the Magic of Crystal
Creative Growth Book, The. From the Outside to the Inside. Artists with Disabilities Today (53) Dancers from the Villa of the Papyri, The – Tailormade (44) Embodied Spirits. Gope Boards from the Papuan Gulf (55)
(50) Lobi – Visions of Africa (42) Looking UpTM... Yinka Shonibare, MBE (56) Luba – Visions of Africa (43, 58) Making History. African Collectors and the Canon of African Art (59)
Fang – Visions of Africa (42)
Metamorphoses. In Rodin’s Studio (56)
Fashioning Kimono. Dress and Modernity in Early
Micro Monumentality. A Tribute to Miniature
Twentieth-century Japan (60) Fifty Years of Collecting Photographs at the National Gallery of Canada (28)
Works of African Art (41, 59) Mitchell | Riopelle. Nothing in Moderation (8) Monet. A Bridge to Modernity (56)
Figuration Narrative, The (22)
Mossi – Visions of Africa (43, 58)
Godai. Bamboo Art | Art du bambou. Tanabe
Multiverse. Art, Dance, Design, Technology :
Chikuunsai IV and Tadayuki Minamoto (14)
The Emergent Creation (20)
The (59)
Telling Time | L’éloge de l’heure (57) Textiles from Borneo. Iban, Kantu, Ketungau, and Mualang Peoples (60) Vehicles – ART BRUT The Collection (18, 53) Very English Swiss, A. Samuel Hieronymus Grimm (1733–1794) (56) Visions of Grace. 100 Masterpieces from the Collection of Daniel and Marian Malcolm (59) Wood Sculpture In Nepal. Jokers and Talismans (60) Wooden Dreams. East African Headrests (59) World of Spirits in Pre-Columbian Ecuador, The (60) World that Wasn’t There, The. Pre-Columbian Art in the Ligabue Collection (60) Yaka – Visions of Africa (43, 58) Yoruba – Visions of Africa (43, 58)
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[64]
[65]
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