A Guggenheim Museum Publication
Elegant and unprecedented, this lavish volume accompanies a major exhibition at the Solomon R. Guggenheim Museum, New York, exploring the life and work of the highly influential fashion designer Giorgio Armani.
Armani has been universally credited with both radically changing the rules of contemporary fashion and, by removing excess ornament and translating traditional sportswear looks into business and evening wear, creating a timeless version of modern dress. A wealth of illustrations, including editorial and advertising shots and new, specially commissioned photographs, chart the evolution of Armani's designs from the earliest sketches to their carefully orchestrated presentation as finished work.
Celebrated authors from the worlds of fashion, film, art, and design analyze the scope of Armani's achievement and his cultural and sociological impact on the ways both women and men dress today. In addition, personal photographs of Armani's houses and travels offer an intimate look at the man behind the fashion legend.
GERMANO CELANT is senior curator of Contemporary Art at the Solomon R. Guggenheim Museum, New York.
HAROLD KODA, formerly a curator at the Metropolitan Museum of Art and director of the Museum at the Fashion Institute of Technology, both in New York, is now an independent costume curator.
PAOLA ANTONELLI is a curator at the Museum of Modern Art, New York. NATALIA ASPESI is an Italian fashion journalist. MARSHALL BLONSKY is a cultural critic and an adjunct professor at the Tisch School of the Arts, New York University. JAY COCKS is a screenwriter and former journalist. Patrick McCarthy is chairman and editorial director of Women's Wear Daily. SUZY MENKES is fashion editor of the International Herald Tribune. CAROLINE RENNOLDS MILBANK is a fashion historian and author. MARTIN SCORSESE is an award-winning film director. INGRID SISCHY is editor-in-chief of Interview magazine.
350 illustrations, 250 in full color, 10 x 12"

Writing about one of the most important and complex artists of our times requires the erudition, clarity, and broad view of a Daniel Arasse, author of the gorgeously illustrated Anselm Kiefer. Avoiding a straightforward chronological survey, Arasse plunges directly into Kiefer's major themes and the ways they reflect the artist's subtly evolving perspectives on German history, the role of the artist, and the meaning of life. Arasse illuminates Kiefer's use of Jewish kabbalistic symbolism, his relationship to philosophers and writers from Nietzsche to Celan, and the rich trove of metaphor to be found in his use of lead, straw, books, and images of railroad tracks and artists' palettes. Never succumbing to art-speak, Arasse--whose French text has been deftly translated into English--marshals his arguments with lucid elegance. The approximately 400 full-color plates, including full views and close-ups, are magnificent. This is surely one of the major art books of our time. --Cathy Curtis --This text refers to an out of print or unavailable edition of this title.
Controversy has accompanied German artist Kiefer ever since his debut at the 1980 Venice Biennale, and now his challenging, wildly expressive, and theatrical paintings, sculptures, and installations receive all the space, high-quality reproductions, and fluent interpretation they demand in this superb, groundbreaking volume. Arasse begins by discussing the complexity of Kiefer's themes and iconography, noting that, taken as a whole, his work evinces a "labyrinthine quality," and addresses "the question of whether, and to what extent, it was possible to be a 'German artist' after the Holocaust and the appropriation of that country's national artistic and cultural traditions by the Third Reich." It isn't easy to grasp all that Kiefer is up to in his disturbingly ambiguous inquiry into Nazi imagery, blending of myth and history, depictions of scorched and blasted landscapes and buildings, and use of books as objects, so readers will greatly appreciate Arasse's lucidity, energetic intellectual engagement, and forthrightness in discussing the ethical problems and philosophical conundrums posed by Kiefer's undeniably powerful creations. Donna Seaman
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.

Twenty-five years after Mapplethorpe’s death, an overview on his nudes, portraits, self-portraits, floral still lifes, and other works compiled by the art critic Germano Celant. Robert Mapplethorpe’s wide, provocative, and powerful body of work has established him as one of the most important artists of the twentieth century. Since 1977, Germano Celant has studied the life and work of Robert Mapplethorpe, participating in interviews and writing essays for several publications and exhibitions. For the first time, this volume gathers the complete anthology of Celant’s writings on the artist: from the 1983 exhibition at Palazzo Fortuny, Venice, with the collaboration of the artist himself, to the posthumous writings published in the catalogs prepared on the occasion of the exhibitions at the Guggenheim Museum, New York, and the Hermitage Museum, St. Petersburg, since 1990.This publication, through over 140 images and texts that appear both personal and scientific, aims to pay tribute to Robert Mapplethorpe’s contribution to the history of photography.

A groundbreaking work, edited by Germano Celant in collaboration with the artist and her New York studio, which enriches our knowledge of Louise Bourgeois. Over a long career she worked through most of the twentieth century's avant-garde artistic movements from abstraction to realism, yet always remained uniquely individual, powerfully inventive, and often at the forefront of contemporary art. She was one of the world’s most respected sculptors, best known for her public-space pieces, grand-scale sculptures of spiders so large they must rest outside. But beginning in the 1960s, she used her own clothing and that of her loved ones as components of her sculptures and designs: a reincarnation of her childhood and her past. Her art would expand into new realms in 2002 when she began to weave together scraps of iridescent-colored fabric, creating works that vary from figures of flowers to chromatic abstractions, constituting a repertoire of truly surprising interweaves. This set of images is collected here in its entirety for the first time, constituting the closest thing yet to a general catalog.

Winner of the 1990 Pritzker Architecture Prize, Italian architect and theorist Aldo Rossi (1931–1997) gained international renown for his imaginative and starkly beautiful designs. Rossi’s writings, drawings and buildings have distinguished him as one of the great architects of our time. They are unique for their simple forms such as cones, cylinders, prisms, and cubes. His work is at once bold yet ordinary, original without being novel, refreshingly simple in appearance but extremely complex in content and meaning. Rossi has been able to follow the lessons of classical architecture without copying them. In a period of diverse styles and influences, Aldo Rossi has eschewed the fashionable and popular to create an architecture singularly all his own. Sketches, drawings, concepts, watercolors, and collages from the early 1960s through to 1998 help us to understand Aldo Rossi the artist and architect, as well as his mindset and how he elaborated his projects. The volume is complete with a register of the Aldo Rossi Foundation’s works. This is truly a valuable tool for scholars.

This book will practically recap the complete graphic work by Aldo Rossi: over 300 prints.
The book will accompany a traveling exhibition having a first venue at Bonnefanten Museum in Maastricht and then going to Berlin, Lausanne and Rome.
Few architects were as intensely occupied with making architecture itself the subject as Aldo Rossi (1932-1997). Drawing was second nature to him, as shown by his unending stream of drawings, which were often very poetic, colourful and humorous, and always recognisable in a continual interplay of visual analogies.
The Bonnefantenmuseum is presenting a touring exhibition of the graphic oeuvre of architect Aldo Rossi, in collaboration with international partners like the Fondazione Aldo Rossi, The National Institute for Graphic Art in Rome and the Polytechnic.
Maastricht, Bonnefantenmuseum, June - November 2015

A clothbound collection of KAWS' instantly recognizable riffs on pop culture, featuring bold graphics and a familiar cast of characters Few artists have managed to bridge the gap between high and low culture as seamlessly as KAWS has since his career took off in the 1990s: his iconic cartoon-inspired designs have graced fashion collections, vinyl figurines, and skateboards as well as canvases sold for millions of dollars. Frequently portraying familiar figures such as Mickey Mouse and Spongebob Squarepants with cauliflower ears and X'ed-out eyes, KAWS employs a sophisticated dark humor throughout his work, exploring the relationship between art and consumerism. This publication documents the artist's first exhibit in the Middle East, with more than 40 key pieces in sculpture and painting from the last two decades. The exhibit in Doha, Qatar, and its accompanying catalog also feature a number of KAWS' commercial collaborations alongside his 5-meter-tall sculpture Companion (Passing Through) and his inflatable 40-meter-tall piece Holiday. Bound in cloth, this volume is a gorgeous collection of KAWS' most exciting work. Brian Donnelly (born 1974), known professionally by his graffiti tag KAWS, is the mastermind behind one of today's most recognizable artistic brands. A graffiti artist since adolescence, Donnelly received his BFA in illustration from the School of Visual Arts in 1996. He then worked as a background artist for animated TV programs before becoming an independent designer. He has worked with artists like Kanye West and collaborated with brands such as Supreme, Nike and Comme des Garçons. He is currently represented by Skarstedt Gallery in New York.