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Alex Katz: Out of Sight

A Drawing Survey

German edition Care, welfare and nurturing work ensure the foundations of human coexistence. This exhibition catalogue of Vienna's VERBUND COLLECTION presents works by artists who devote themselves to existential areas of caregiving. They reflect upon a new 'sign language of the kitchen'. They make paid and unpaid care work - often invisible and realised under precarious working conditions - visible as class politics. Touching photographs of care for elders show intergenerational solidarity. Female artists who are mothers address the evaluation of care work in the art world. Works by the Feminist Avant-garde of the 1970s are thereby set into a lively dialogue with contemporary works. Thus, the publication aims to contribute to the appreciation of care work, which is predominantly performed by women. <ul> <li>Discussion of the highly relevant topic of care/nurturing/welfare</li> <li>A lively dialogue between works from the Feminist avant-garde of the 1970s and contemporary works - including sculptures, objects, photographs, drawings and videos</li> <li>Participating artists: Akihito Yoshida, Aneta Grzeszykowska, Anna Kutera, Anna Schölß, Annegret Soltau, Birgit Jürgenssen, Christine Lederer, Elizabeth Catlett, Frida Orupabo, Hannah Cooke , Karin Mack, Kirsten Justesen, Laura Ribero, Lena Henke, Letícia Parente, Lorna Simpson, Mägorzata Markiewicz, Margaret Raspé, Maria Pini¿ska-Bere¿, Marlene Haring, Martha Rosler, Mary Sibande, Mierle Laderman Ukeles, Natalia Iguiñiz, Nicole Wermers, Renate Bertlmann, Renate Eisenegger, Rosemarie Trockel, See Red Women's Workshop, Sophie Gogl, VALIE EXPORT&nbsp;</li> <li>An exhibition by the VERBUND COLLECTION, Vienna, Albertina, Vienna, March 13 to June 14, 2026</li> </ul>

German editionCare, welfare and nurturing work ensure the foundations of human coexistence. This exhibition catalogue of Vienna’s VERBUND COLLECTION presents works by artists who devote themselves to existential areas of caregiving. They reflect upon a new ‘sign language of the kitchen’. They make paid and unpaid care work – often invisible and realised under precarious working conditions – visible as class politics. Touching photographs of care for elders show intergenerational solidarity. Female artists who are mothers address the evaluation of care work in the art world. Works by the Feminist Avant-garde of the 1970s are thereby set into a lively dialogue with contemporary works. Thus, the publication aims to contribute to the appreciation of care work, which is predominantly performed by women.<ul><li>Discussion of the highly relevant topic of care/nurturing/welfare</li><li>A lively dialogue between works from the Feminist avant-garde of the 1970s and contemporary works – including sculptures, objects, photographs, drawings and videos</li><li>Participating artists: Akihito Yoshida, Aneta Grzeszykowska, Anna Kutera, Anna Schölß, Annegret Soltau, Birgit Jürgenssen, Christine Lederer, Elizabeth Catlett, Frida Orupabo, Hannah Cooke , Karin Mack, Kirsten Justesen, Laura Ribero, Lena Henke, Letícia Parente, Lorna Simpson, Małgorzata Markiewicz, Margaret Raspé, Maria Pinińska-Bereś, Marlene Haring, Martha Rosler, Mary Sibande, Mierle Laderman Ukeles, Natalia Iguiñiz, Nicole Wermers, Renate Bertlmann, Renate Eisenegger, Rosemarie Trockel, See Red Women's Workshop, Sophie Gogl, VALIE EXPORT&nbsp;</li><li>An exhibition by the VERBUND COLLECTION, Vienna, Albertina, Vienna, March 13 to June 14, 2026</li></ul>

Kunst aus der SAMMLUNG VERBUND, Wien

CARE MATTERS

A new title of Skira's new series Milestones: At the Heart of Creation, dedicated to today's greatest living artists. Skira's new series Milestones is a collection of books devoted to today's greatest living artists. More than retrospectives, Milestones are comprehensive excursions into the daily life and work of exceptional living artists and provide a rare backstage glimpse at their art. Each volume of the series presents one or more intimate interviews with the artist by a curator or a fellow artist, an essay by a renowned author, and the artist's biography. The iconography of the book includes images and plates of the key works explained by the artists themselves and an original photoshoot of the artist in his studio by leading photographers, as well as a "family album" with previously unpublished shots and personal photos. Born in Johannesburg in 1955, William Kentridge is internationally renowned for the expressionism of his work in numerous media (charcoal, printmaking, sculpture and film), as well as his acclaimed theatrical and operatic productions. As elusive as it is allusive, Kentridge's art is shaped by apartheid and grounded in the politics of the post-apartheid era, and in science, literature and history.

Milestones: At the Heart of Creation

William Kentridge

Isms

A collection of evocative quotations from the pioneering artist that offer insights into her ideas about art and the natural world Georgia O’Keeffe was one of the most important and influential artists of the twentieth century. Bridging representation and abstraction, she depicted plants, flowers, cityscapes, and landscapes in iconic paintings whose unique style has become an indelible part of our visual culture. Drawn from her published writings, letters, interviews, and other sources, the quotes in O’Keeffe-isms provide insights into her artistic philosophy, creative process, and profound connection to the desert landscapes of New Mexico and the American Southwest. Poetic, fearless, and introspective, O’Keeffe-isms provides a vivid window into the mind of a beloved modernist artist who forged her own path.<ul><li>“I have wanted to paint the desert and I haven’t known how. I always think that I cannot stay with it long enough. So I brought home the bleached bones as my symbols of the desert. To me they are as beautiful as anything I know.”</li><li>“I do not like the idea of happiness—it is too momentary—I would say that I was always busy and interested in something—interest has more meaning to me than the idea of happiness.”</li><li>“The men decided they didn’t want me to paint New York. They wouldn’t let me. They told me to ‘leave New York to the men.’ I was furious!”</li><li>“I’ll tell you how I happened to make the blown-up flowers. In the twenties, huge buildings sometimes seemed to be going up overnight in New York. At that time I saw a painting by Fantin-Latour, a still-life with flowers I found very beautiful, but I realized that were I to paint the same flowers so small, no one would look at them because I was unknown. So I thought I’ll make them big like the huge buildings going up. People will be startled; they’ll have to look at them—and they did.”</li><li>“You decide on the kind of person you want to be, and then you get at it. It’s like a habit of neatness.” </li></ul>

O'Keeffe-isms

'Utterly gripping, enraging, entertaining - and important. I can't recommend it highly enough' Jennifer Higgie In 1958, talented and fearless and eighteen years old, Liliane Lijn left her family home and moved to Paris alone to become an artist. Once there, she found an art world filled with the wild energy of creative revolution - peopled and controlled almost entirely by men. Embracing the bohemian spirit of the Left Bank, Lijn built a life for herself in the city, befriending artists, poets and revolutionaries and creating ground-breaking sculptures with light, text and movement, despite being told again and again that there are no great women artists. Liquid Reflections is her sparkling memoir of these years of experiment and adventure. Based on personal diaries from the time, this is a riveting and revelatory portrait of the artist as a young woman. 'A whirlwind of encounters . . . a pioneer in melding art, poetry and science' Art Basel

Liquid Reflections

A new understanding of Marcel Duchamp and his significance as an artist through an investigation of his non-art activities—archiving, art-dealing, and, most persistently, curating. This groundbreaking and richly illustrated book tells a new story of the twentieth century's most influential artist, recounted not so much through his artwork as through his “non-art” work. Marcel Duchamp is largely understood in critical and popular discourse in terms of the objects he produced, whether readymade or meticulously fabricated. Elena Filipovic asks us instead to understand Duchamp's art through activities not normally seen as artistic—from exhibition making and art dealing to administrating and publicizing. These were no occasional pursuits; Filipovic argues that for Duchamp, these fugitive tasks were a veritable lifework. Drawing on many rarely seen images, Filipovic traces a variety of practices and projects undertaken by Duchamp from 1913 to 1969, from his invention of the readymade to the release of his last, posthumous work. She examines Duchamp's note writing, archiving, and quasi-photographic activities, which resulted in the Box of 1914 and the Green Box; his art dealing, marketing, and curating that culminated in experimental exhibitions for the Surrealists and his miniature museum, The Boîte-en-valise; and his administrative efforts and clandestine maneuvering in order to posthumously embed his Étant donnés into a museum. Demonstrating how those activities reflect the artist's questioning of reproduction and originality, as well as photography and the exhibition, Filipovic proposes that Duchamp's “non-art” labor, and in particular his curatorial strategies, more than merely accompanied his more famous artworks; in a certain sense, they made them. Through Duchamp's elusive but vital activities he revised the idea of what a modern artist could be. With this fascinating book, Filipovic in turn revises the very idea of Duchamp.

A new understanding of Marcel Duchamp and his significance as an artist through an investigation of his non-art activities archiving, art-dealing, and, most persistently, curating.

The Apparently Marginal Activities of Marcel Duchamp

Nan Goldin's deeply personal exploration of female trauma and resistance. Sisters, Saints and Sibyls is a tribute 'to all rebellious women struggling to survive in society.' Focusing on the tragic life of her sister, Barbara, Nan Goldin weaves together a tapestry out of medical records, family photographs and mythical allusions to Saint Barbara to compose a haunting meditation on the mistreatment of female mental health in the twentieth century. Barbara's story is intertwined with Goldin's own descent into, and emergence from, addiction, shining a brutal light on the realities of trauma, abuse and mental illness. One of Nan Goldin's most important series, this timely publication is set to align with a major career retrospective opening at the Grand Palais, Paris, in March 2026.

Sisters, Saints and Sibyls

The talent behind Radiohead's iconic artwork reveals in his own words and for the first time the creative process that has driven his career and earned him a cult reputation. A restless and prolific figure, Stanley Donwood is widely regarded as one of the most important visual artists of his generation. His influential work for Radiohead spans many practices and ever-evolving aesthetics over a 23-year period, from music packaging to installations to print-making. Here, for the very first time, he reveals his personal notebooks, photographs, sketches and abandoned routes to iconic Radiohead artworks. Arranged chronologically, chapters are each dedicated to a major work - be it an album cover, promotional piece or a personal project - presented as a step-by-step working case study, from speculative ideas and sketches right through to Photoshop experiments and the finished piece. Accompanying narratives by Donwood explain the inspirations and stories behind his creative process and what it is like to work with the band, told with his typical razor-sharp humour and generosity of spirit. Featuring a treasury of archive material, this is the first deep dive into Donwood's creative practice and the artistic freedom afforded to him by working for a major music act. There Will Be No Quiet is essential reading, and viewing, for fans of the band and anyone interested in the explosive mix of artistic accident, musical ingenuity and creative originality.

Stanley Donwood: There Will Be No Quiet

An absorbing study of Swiss artist Sophie Taeuber-Arp's influential work, looking in depth at the role of the curve in the artist's formal lexicon. Edited and introduced by Briony Fer, Sophie Taeuber-Arp: la règle des courbes / The Rule of Curves examines the work of leading twentieth-century artist Sophie Taeuber-Arp, whose pioneering, multifaceted work challenged traditional hierarchies and conventional binary oppositions, and asserted art's urgent relevance to daily life. This bilingual, clothbound volume focuses on the formal logic that drove her bold and wide-ranging creative production while revealing how moving and working between mediums simultaneously expanded and crystallized her aesthetic. Alongside Fer's new critical insights into Taeuber-Arp's work, an essay by Jenny Nachtigall explores the artist's "environments" and how notions of gravity, motion, and the cinematic offer keys to understanding the artist's kinaesthetic sensibility.

Sophie Taeuber-Arp: The Rule of Curves / la règle des courbes

Drawing into Painting reveals Lucian Freud's lifelong focus on the human face and form, tracing the intimate dialogue between his sketches and paintings from the 1940s to the early 21st century. &gt; Drawing into Painting explores how drawing remained central to Freud's artistic practice throughout his life. From quick sketches to finished works in charcoal, pastel, and etching, his drawings offer a rare window into his process, revealing shifts in style, experimentation, and his evolving way of seeing. Spanning from his childhood to his final years, the book traces the unconventional path from his drawing practice to his painting, and back again. Alongside a selection of key paintings by Freud and others, the book includes conversations with David Dawson, Freud's close friend and assistant, and Bella Freud, the artist's daughter. Insightful essays by writer and curator Catherine Lampert, British Museum drawings curator Isabel Seligman, and acclaimed novelist Colm Tóibín further illuminates Freud's world and legacy.

Drawing into Painting

Lucian Freud

A fantastic selection of underworld deities and mythology by the artist Jason Engle. A fine new art calendar by Flame Tree. Jason Engle has been creating art for the publishing and entertainment markets since 1998, working on some of the best and biggest games in the world over that time. Discover 12 of his Dark Gods-inspired artworks in this eye-catching wall calendar. Features Nyx, Anubis, Hel, Hades and more. Informative text accompanies each work and the datepad features previous and next month’s views. Printed on FSC-certified paper, with plastic-free packaging.

Dark Gods of the Underworld: Illustrated by Jason Engle Wall Calendar 2027 (Art Calendar)

<div>The Artist’s Garden offers an intriguing study into 20 gardens that have inspired and been home to some of the greatest painters from history. This&nbsp;sumptuously illustrated and fascinating book delves into the&nbsp;stories behind the gardens which inspired some of the most beautiful and important works of art. These gardens not only supplied the inspiration for creative works but also illuminate the&nbsp;professional motivation and private life of the artists themselves – from Cezanne’s house in the south of France to Childe Hassam at Celia Thaxter’s garden off the coast off Maine. Flowers and gardens have often been the first choice for artists looking for a subject. A garden close to the artist’s studio is not only convenient for daily material and ideas, but also has the advantage of changing through the seasons and over time. Claude Monet’s Giverny was the catalyst for hundreds of great paintings (by Monet and other artists), each one different from the one before. Sometimes a whole village becomes the focus for a colony of artists as at Gerberoy in Picardy and Skagen on the northernmost tip of Denmark. This book is about the real homes and gardens that inspired these great artists – gardens that can still be visited today. The relationship between artist and garden is a complex one. A few artists, including Pierre Bonnard and his neighbour Monet were keen gardeners, as much in love with their plants as their work, while for others like Sorolla in Madrid, his courtyard home was both a sanctuary and a source of ideas. This book is as unmissable for art lovers as it is for anyone who knows the joy of time spent in gardens, offering an intriguing insight into the lives of these great painters and the gardens which inspired them to their creative heights. Now available in paperback.&nbsp;</div>

The secret spaces that inspired great art

The Artist's Garden

Institute for the Study of the Ancient World Exhibition Catalogs

Rodin’s Egypt

Alex Katz: Out of Sight

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