Eberhard Havekost is the youthful shooting star of the internationally acclaimed Leipzig School. His images, dubbed -photoshop realism- by critics are cool and distanced. Havekost makes the on-screen computer image the direct subject of his painting. The user interface is his painterly theme and how the images appear on it, electronically manipulated, or rather beautified and illuminated from behind. Simple, almost trivial objects filtered electronically and mutated are painted to canvas by Havekost. Mutants of reality transformed into paintings that exude a mysterious bleakness. Our book,...

Cy Twombly's oeuvre featuring paintings, sculptures, works on paper and photographs displays a highly personal, literary character, but has undergone several profound transformations. The most decisive was the contact with Mediterranean culture caused by Twombly's with drawal from the New York art scene he moved to Italy in 1957. Greek gods, the Mediterranean light, Western history, literature and mythology all found their way into his art. In ever larger canvases he presents the drama of humanity as a sensuous and poetic vision of color, drawing and writing. At the occasion of Twombly's 80th...

Heavenly Palaces is a series of sculptures 26 works in glass display cabinets and one separate work that Anselm Kiefer created and installed in the late 1980s in a historic brick factory of the German Odenwald region. Poetic and extremely fragile works that seem to be almost transparent in the changing, reflecting lights of the space, these sculptures are made of photographs and fabric, glass fragments, clay, paper, bone, delicate card board and wooden structures. They make up a world that is understood only through its direct relations to cabbalistic representations, ancient myths, and...

Books have always played an important part in Anselm Kiefers work, as a subject matter, as an artistic form, or all in one. Anselm Kiefer. Bcher is an anthology of published and unpublished artists books.

Als inkohärentes Gesudel eines frenetischen Greises im Vorzimmer des Todes bezeichnete Douglas Cooper, immerhin ein enger Freund, das Spätwerk Pablo Picassos (1881-1973). Und selbst Henry Kahnweiler, sein lang - jähriger Galerist und Händler, brachte wenig Verständnis für die künstlerische Produktion der letzten Jahre des Jahrhundertgenies auf. Aber war, so fragt Heiner Bastian in seiner jüngsten Katalogpublikation, Picasso nicht schon immer der Maler, der jede idealistische Glättung vermieden hatte, für den Grenzüberschreitungen und Riten der Zerstörung zur treibenden Kraft der...