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Margrit Linck is one of the twentieth century's most prominent ceramics artists. Over the course of her five-decade-long career, the ceramicist developed utilitarian pottery as well as a unique artistic oeuvre that deserves to be rediscovered. This book therefore focuses on her sculptures, which break up the simplicity and formal language of utilitarian ceramics and expand them into the playful and surreal: jugs grow birds beaks, vases take on feminine forms. On the one hand, we encounter the artist and ceramicist Margrit Linck through a personal perspective, and on the other, her work is presented within the context of twentieth-century art movements, especially Surrealism. The attractive illustrated section allows readers to delve deeper into the work and makes its clear how current and refreshing Linck's work remains to this day. MARGRIT LINCK (1897-1983) grew up in Wichtrach, near Bern. In the 1930s she and her husband, the sculptor Walter Linck, often sojourned in Paris, where they encountered avant-garde art. Back in Switzerland in the 1940s, she was the first woman to open up her own ceramics studio. Up until her death she continued to produce an impressive series of ceramic sculptures, which were shown both in Switzerland and abroad.

The "decisive moment" is what counts, said the legendary photographer Henri Cartier-Bresson. For more than half-a-century, the theater photographer Ruth Walz schooled her eye to capture fleeting moments on stage so that they still grip us today. In doing so, she gives us exciting after-images of irretrievably lost theatrical productions. She provided audiences of the time with matchless memories and new insights; anyone looking at her pictures today undergoes a journey into the fascinating world of the theater. After working for around fifteen years as a photographer for the Schaubühne in Berlin, she spent the ensuing years accompanying directors, set designers, and actors on their paths through European theater and opera. Her precise gaze and her curiosity about the art of the stage remain undiminished to this day. This illustrated volume with texts by Gerhard Stadelmaier, Niklas Maak, and other authors, as well as interviews with Robert Wilson and Peter Sellars, is a companion to the extensive exhibition of her photographs at the Museum für Fotografie in Berlin.RUTH WALZ (*1941); 1976-1990 photographer for the Schaubühne Berlin; since 1991 photographer for the Salzburg Festival; freelance theater photographer until today; has collaborated with Luc Bondy, Klaus Michael Grüber, Pierre Audi, Peter Sellars, Peter Stein, Robert Wilson, and others.

. Marking the artist's one-hundredth birthday. Language and art. New approach to research

This volume accompanies the first major survey of the work of Lynette Yiadom-Boakye, a London-born painter and author with roots in Ghana. Around eighty paintings, drawings, and prints from private and public collections in Europe and the United States are assembled here, joining new, previously unseen works. Yiadom-Boakye's main theme is the human being; the women and men, painted with oil or charcoal and pastels, appear to be portraits, but are actually fictions. They are always people of Color-whereby the painter highlights the fact of their absence in European art history. Along with her paintings, the catalogue also features the artist's texts and poems. Accompanying essays by Andrea Schlieker, Isabella Maidment, and American poet Elizabeth Alexander explain Yiadom-Boakye's impressive body of work over the past twenty years. LYNETTE YIADOM-BOAKYE (*1977, London) is a British artist and author known worldwide for her expressive portraits of fictional characters. She was nominated for the Turner Prize in 2013 and her work has been seen in many international exhibitions.

One feature of seventeenth-century Dutch genre painting is its focus on daily life. It was not uncommon for artistic beauty to find itself challenged by the claim to aesthetic truths. What was once a novelty in Netherlandish art, however, has lost none of its charisma for today's viewers. This illustrated volume offers evidence of this in a fascinating dialogue between the historic masters of genre painting and the shooting stars of contemporary art. Works by Johannes Vermeers, Pieter de Hoochs, and other painters meet Stefan Marx's contemporary typefaces and Lars Eidinger's photographs. This unique synopsis not only reveals historic distinctions but the surprising similarities in themes and pictorial inventiveness are captivating.LARS EIDINGER (*1976) is a versatile artist. He can be seen in numerous TV and film productions, as a ensemble member of the Berlin Schaubühne and as the DJ. With his precise eye for the contradictions and poetry of everyday life, he is also a sought-after photo and video artist. STEFAN MARX (*1979) is an artist. He processes his precise observations of his environment in apt, mostly humorous, poetic, but also thought-provoking typefaces and figurative works. He has had numerous international exhibitions, including in Paris, New York and Tokyo. He self-publishes artist books and makes record covers for various labels. Marx founded the T-shirt label Lousy Livin in 1995. Since 2017 he has had a cooperation with KPM Berlin; in August 2019 he drew a daily column in The New York Times.SANDRA PISOT (*1974) studied art history, classical archeology, as well as modern and contemporary history at the universities of Augsburg, Parma, and Stuttgart; after holding positions at the Bavarian Staatsgemäldesammlungen Munich and the Staatliche Kunstsammlungen Dresden, she has been head of the Old Masters collection at the Hamburger Kunsthalle since 2014.

Employing the concept of an anarchic organization of cinematic spaces, the author embarks in this volume on a journey toward an imaginary political trope for the cinema of the present - a working principle that aims to form a new way of thinking by destabilizing outdated structures of cinema. ROSA BARBA (*1972, Agrigento, Italy) is an acclaimed artist who works with film. She is the recipient of numerous awards, including the renowned Calder Prize. Her work has been exhibited at the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Schirn Kunsthalle, Frankfurt, and the MIT List Visual Arts Center, Cambridge, MA, among others.

Not only were they two of the outstanding artists of the Bauhaus, but also a well-known couple. Their many famous works and the artists they influenced as teachers and role models bear witness to their life and work. But that is not all, as another ingenious couple literally shows us. The photographer duo Lake Verea has joined forces with the Josef and Anni Albers Foundation to trace the material and intellectual traces of their artistic creativity in their estate. Correspondence with Bauhaus colleagues, tubes of paint and fabric fibers are captured with an extraordinary feel and vividness. Seeing the objects gives wings to the imagination. For inevitably, one sees the hands of the artists at work, who formed their very own contribution to 20th century art history from these objects, conversations and trains of thought.ANNI ALBERS (1899-1994) and JOSEF ALBERS (1888-1976) were both Bauhaus artists in Dessau and Berlin. Together they emigrated to the USA in 1933, where their path led them to Black Mountain College and finally to Bethany. With their textile art and his painting and theory, both left behind an oeuvre that was both independent and influential for later generations. FRANCISCA RIVERO-LAKE CORTINA (*1973) and CARLA VEREA HERNÁNDEZ (*1978) always appear together as photographers. This, together with their extraordinary eye, makes them one of the most extraordinary and versatile phenomena in contemporary photography. Their works are accordingly represented in the most renowned exhibitions and collections.

For half a century, Angelika Platen has been photographing mainly black and white portraits of artists, including Georg Baselitz, Josef Beuys, Hanne Darboven, Bridget Riley, Marina Abramovic, Katharina Grosse, and Andy Warhol. Platen's third monograph, Meine Frauen (My Women), is the first to gather together the female art scene (in an art world still dominated by men). With her unmistakable character studies as part of her photo series, Platen Artists-taken in studios and galleries-and in a congruence of image and work, the artist devotes herself this time exclusively to female visual artists. Here, she shows an exciting, varied, photographic panorama of over one hundred female artists. With portraits of:Marina Abramovic, Monica Bonvicini, Sophie Calle, Hanne Darboven, Cecilia Edefalk, Isa Genzken, Asta Gröting, Candida Höfer, Roni Horn, Leiko Ikemura, Joan Jonas, Herlinde Koelbl, Marlena Kudlicka, Annie Leibovitz, Julie Mehretu, Anette Messager, Marzia Migliora, Katharina and Pola Sieverding, Rosemarie Trockel, Jorinde Voigt, and others.ANGELIKA PLATEN (*1942, Heidelberg) became the director of the Gunter Sachs Gallery after studying photography in Hamburg. She began working on her evocative, black-and-white portraits in the late 1960s. Today, she has gathered more than a thousand "Platen Artists" to form a fascinating gallery of personalities from half-a-century of living art history.

Encounters with Balkans

The future is now

In thirteen chapters, the exhibition and the accompanying catalogue offer profound insight into the cosmopolitan thinking of Joseph Beuys, as manifested in his actions, which are presented in the form of video projections and photographs. For it is in this capacity-as an acting, speaking, and moving figure-that Beuys examined the central, radical idea of his expanded concept of art: "Every human being is an artist." The goal of his universalist approach was to renew society from the ground up. To this day, his influence can be felt in artistic and political discourses. In this exhibition, contemporary artists and representatives from various areas of society enter into a multilayered, transcultural dialogue with Beuys. From today's perspective, they confirm, question, and expand upon his theses about the possibilities of a future conceived via art. With B-Town Warriors, Phyllida Barlow, Nelly Ben Hayoun-Stépanian, Fatou Bensouda, Huma Bhabha, Dineo Seshee Bopape, Angela Davis, Dusadee Huntrakul, Charles Foster, Núria Güell, Donna Haraway, Raphael Hillebrand, Jenny Holzer, Michel Houellebecq, Mierle Laderman Ukeles, Zoe Leonard, Goshka Macuga, Tuan Andrew Nguyen, Milk Tea Alliance, William Pope.L, Tejal Shah, Vandana Shiva, Santiago Sierra, Patti Smith, Edward Snowdon, Christopher D. Stone, Suzanne Lacy, The Otolith Group, Thich Nhat Hanh, Greta Thunberg, Malala YousafzaiJOSEPH BEUYS (1921-1986) fundamentally changed the twentieth- century as a draftsman, sculptor, teacher, politician, activist, action, and installation artist. His 100th birthday in 2021 is an occasion to rediscover, appreciate, and critically question his complex body of work and his international influence.

Although it is still a relatively young art form, photography is characterized by a changeability and richness of facets that is unparalleled. Initially, as the "pencil of nature," it amazed its viewers because it was able to capture reality itself on glass and paper. But soon it shone through its possibilities for artistic mise en scène. Digital photography and its possibilities of manipulation multiply the expressive dimensions of the photographs to infinity. Ian Jeffrey takes us on a journey into the history of photography, where the great masters of this extraordinary medium pay their respects. As with a photograph itself, the most important stages in the development of this extraordinary medium are illuminated in order to finally arrive at a comprehensive picture of an inexhaustible wealth of creativity. IAN JEFFREY (*1942) is a writer and art historian who has intensively studied the history of photography. He was a tutor and professor at Goldsmiths, University of London and is the recipient of the J. Dudley Johnston Award of the Royal Photographic Society, Bath.