Michael Auping Bücher

Der südafrikanische Künstler William Kentridge (*1955 in Johannesburg) arbeitet mit den unterschiedlichsten Medien wie Zeichnung, Skulptur, Film und Theater. Die Publikation erforscht fünf grundlegende Themen, mit denen sich Kentridge in seinen Arbeiten auseinandersetzt. Neben Projekten, die die Spannungen, Konflikte und den Wandel in Südafrika – der Heimat des Künstlers – reflektieren, liegen weitere Schwerpunkte auf den von Kentridge geschaffenen Charakteren, dem herrschsüchtigen Geschäftsmann Soho Eckstein und seinem Alter Ego Felix Teitlebaum, sowie auf seinen Bühnenbildern für die Inszenierungen von Mozarts Zauberflöte und Die Nase von Dmitri Schostakovtisch. Speziell für diesen Band hat Kentridge eine DVD erstellt, die einen faszinierenden Einblick in die Arbeitsweise des Künstlers gibt, indem sie Studioaufnahmen, die den Künstler bei der Arbeit zeigen, sowie Ausschnitte aus bedeutenden Filmprojekten vereint. Ausstellungen: Museum of Modern Art, New York 24.2.–17.5.2010 Albertina, Wien 29.10.2010–30.1.2011 Israel Museum, Jerusalem 5.3.–18.6.2011

The evolution and philosophy of color field painting, as revealed by four masters of the movement. Developed at the tail end of the abstract expressionist movement, color field painting is distinguished by pure, unmodulated areas of color, flat, two-dimensional space, and large, often irregularly shaped canvases. The genre is often associated with American painting, but was actually embraced by an international group of artists. Four of the most exciting of those practitioners are the focus of this penetrating study. Michael Auping sees the work of each of these artists as representing a different stage in the development of abstract painting in the 1950s and 1960s. He comments, "To my mind Rothko draws back the curtains, if you will, on the opening up of this space. Newman emphatically `declares' an almost totemic space, while Fontana literally slices through the picture's plane with a razor, and Klein, as he pronounced it, leaps into the void." Illustrated with color images of the artists' seminal works, Declaring Space shows how each painter made his own individual mark in a new realm of abstract art.

A retrospective volume of Susan Rothenberg s work, this book addresses the artist s entire career to date, focusing on her unique methods and themes. Full-colour illustrations and foldouts of Rothenberg's bestknown early works as well as exciting new paintings afford readers the chance to observe the evolution of Rothenberg's themes. From her earliest horse paintings through her spinning figures of the 1980s and early 1990s to her most recent series of paintings of dismembered puppets, this book highlights key compositional strategies in Rothenberg's work. Michael Auping contributes an essay addressing Rothenberg's painting process and the eclectic influences that have helped shape her figurative and spatial distortions. Barbara Buhler Lynes addresses Rothenberg's work in the context of Santa Fe and the tradition of twentieth-century women artists it has inspired, from Mable Dodge Luhan to Georgia O'Keeffe to Agnes Martin.

Published on the occasion of the eponymous exhibition at David Zwirner in 2015, "Corners, Barriers and Corridors" takes as its point of departure Dan Flavin's (1933-96) influential "Corners, barriers and corridors in fluorescent light from Dan Flavin" show, presented at the Saint Louis Art Museum in 1973. The volume brings questions of architecture to the fore, exploring how this particular body of light works function in space. Mining early explorations in Flavin's practice, the book includes many works reproduced for the first time in plates that accurately capture their colors. Above all, the photography reveals the unexpected and powerful interplay between the light of Flavin's constructions and the surrounding space; these works not only function as color experiments but as structural explorations in light. This catalogue presents an especially significant body of work, along with new scholarship by Michael Auping, offering a vital historical perspective on Flavin's practice.

In 1956, the American artist Ed Ruscha (*1937) left his hometown of Oklahoma City and drove to Los Angeles. He has since time and again dealt artistically with the images he has encountered traveling the roads of the western United States. Comprising approximately fifty works that span the artist's entire career, Ed Ruscha: Road Tested tracks key paintings inspired by his admitted love of driving and the automobile. The volume includes some of Ruscha's most well-known pictures, such as the iconic Standard Stations and Hollywood Signs, as well as paintings inspired by road signs. A special folded map has been inserted into the book tracing the route he took in the mid-fifties. Exhibition schedule: Modern Art Museum of Fort Worth, Texas, January 23-April 17, 2011 And further venues