Artipedia - Arts News

Magasin 3

Congratulations!

The book “Congratulations!” is published by Magasin 3 and Lars Müller Publishers in conjunction with Pipilotti Rist’s exhibition “Gravity, Be My Friend” at Magasin 3 Stockholm Konsthall, Feb 10 – June 17, 2007.

Pipilotti Rist, one of the most acclaimed Swiss artists of today, and Richard Julin, chief curator at Magasin 3 Stockholm Konsthall (Sweden), met for a special 24-hour session in Zürich.

Their conversation began at the artist’s studio and carried on into the night back at her home, while they cooked and ate dinner together.

The resulting book “Congratulations!” is a very personal and fascinating meeting that reveals new dimensions of the world of Pipilotti Rist, with anecdotes from the creation process and reflections on life, art and food.

The richly illustrated book features images of the major new piece, “Tyngdkraft, var min vän” (“Gravity, Be My Friend”), created especially for the exhibition. Never before published images of recent works by Pipilotti Rist are also included, such as “Homo Sapiens Sapiens” shown at the Venice Biennale 2005, “A Liberty Statue For Löndön”, 2006, and many other seminal works.

Content
Prologue by David Neuman, director of Magasin 3 Stockholm Konsthall
“People who feel that talking about art ruins it should stop reading now” – a conversation between Pipilotti Rist and Richard Julin, chief curator Magasin 3 Stockholm Konsthall

14.8 x 21cm, 160 pages, richly illustrated with 110 color images
ISBN 978-3-03778-108-1 English
ISBN 978-3-03778-107-4 German
ISBN 978-91-976646-0-8 Swedish

Published 2007 by Magasin 3 Stockholm Konsthall and Lars Müller Publishers.

Available worldwide in specialized bookstores or at:
http://www.lars-muller-publishers.com/e/katalog/ausgaben/set.php (English or German edition)
For the Swedish edition please visit the homepage of Magasin 3 Stockholm Konsthall: http://www.magasin3.com/sv/publikationer.html

The exhibition “Gravity, Be My Friend” at Magasin 3 Stockholm Konsthall, Feb 10 – June 17, 2007, is the artists first solo exhibition in Scandinavia and comprises central pieces in Rist’s production as well as two newly produced works. The title-piece “Tyngdkraft, var min vän” (“Gravity, Be My Friend”) is a new large-scale audiovisual installation specially produced for Magasin 3.
http://www.magasin3.com/exhibitions/pipilotti.html

For more information go to: http://www.magasin3.com/sv/publikationer.html

Bonnefantenmuseum

Important collection comes to Bonnefantenmuseum Maastricht

Jeanne and Charles Vandenhove Collection on view in Maastricht from 1 April 2007

http://www.bonnefanten.nl

The Bonnefantenmuseum and the Fondation Jeanne and Charles Vandenhove have reached an agreement on the long-term loan of an extensive collection of modern and contemporary art. The collection contains some 300 works of art the Vandenhoves have been collecting over the past 50 years. The architect Charles Vandenhove is based in Liège (B). Art plays an important role in all of his buildings. The majority of contributing artists are represented in the abovementioned collection.

The collection covers a number of key movements:
Ecole de Paris:
Including Alechinski, Bissière, Dotremont, Feito, Jorn, Manessier, Mathieu, Michaux, Saura, Vierra da Silva, Soulages, Ubac.
Pop Art:
Including Arakawa, César, Christo, Dine, Hantaï, Nevelson, Raynaud, Raysse, Warhol.
Expressionism:
Including Kiefer, Nitsch, Rainer, Tapies, Twombly.
Concept:
Including Barry, Becher, Boltanski, Buren, Cane, Charlier, Corillon, Flanagan, Gilbert & George, Lavier, LeWitt, Lizène, Paolini, Serra, Toroni, Viallat, Wery.
Latest Movements:
Including Claerbout, Gerdes, Tuymans, Vercruysse.

As of April 2007, various parts of the collection will be exhibited in the museum. In due course, the museum will also have space in the city of Liege at its disposal, to show Vandenhove’s work in the context of those artists represented in the collection. It concerns the so-called Hôtel Torrentius, built by the 16th-century Liège architect and painter Lambert Lombard and completely restored by Charles Vandenhove in 1978.

The Jeanne en Charles Vandenhove Foundation was created in December 2004, with the aim of presenting the works in the Vandenhove collection in relation to the path taken by, and the archives of, the architect Vandenhove. This was to be accomplished through exhibitions of contemporary art, architecture and design.

The Foundation is housed in the Torrentius Hotel in Liège. In the future, the building will owned to the Foundation. This prestigious building from the 16th century, completely restored by Charles Vandenhove, is the work of the Renaissance architect/painter Lambert Lombard.

In December 2006, the Foundation and the Bonnefantenmuseum agreed that the museum would take on the responsibility of looking after the collection and organising exhibitions, in accordance with the byelaws and objectives of the Vandenhove Foundation.

The architect Charles Vandenhove is the author of many prestigious buildings in Belgium and elsewhere. His most important buildings in Belgium are the Teaching Hospital of Liège University (1962-1987), the renovation of the Torentius Hotel (1978-1982) and the renovation of the Hors-Château district in Liège (1979-1985). His buildings in other countries include the Théâtre des Abbesses in Paris (1986-1996), the Koninklijke Schouwburg in The Hague (1990-1995), the Palace of Justice in ’s Hertogenbosch (1992-1997) and the Staargebouw in Maastricht (1988-1998). In 2007, work will start on a residential block for Vesteda, opposite the Bonnefantenmuseum in Maastricht.

Art plays an important role in all the buildings. A great many of the artists involved are also represented in the present collection, such as Sol LeWitt, Loïc de Groumellec, Daniel Buren or Jean-Pierre Pincemin.

The first exhibition in the museum will be on show from 1 April 2007. There will be a small selection of photos by François Hers of the Vandenhove buildings built between 1967 and 1987. An extensive catalogue will accompany the exhibition. It is co-edited by the Bonnefantenmuseum and les Editions du Moniteur, Paris, with text by François Chaslin.

For further information please contact the press office of the Bonnefantenmuseum, Avenue Céramique 250, Postbus 1735, 6201 BS Maastricht.
Tel. +31 43 329 01 10
Fax +31 43 329 01 99
pressoffice@bonnefanten.nl
http://www.bonnefanten.nl
The Bonnefantenmuseum receives annual support from the Province of Limburg.

For more information go to: http://www.bonnefanten.nl

German Pavilion

Isa Genzken
OIL

German Pavilion at the 52nd International Art Exhibition La Biennale di Venezia

June 10 – November 21, 2007

When in the summer of 2006 Witte de With’s director Nicolaus Schafhausen was appointed as curator for the German Pavilion at the 52nd Venice Biennale, he asked Isa Genzken (b. 1948).

Schafhausen explained this choice by stating that “Genzken is one of the most uncompromising artists of today, capturing current times like almost no other contemporary artist”. For more than thirty years, Genzken has created a diverse oeuvre that spans sculpture, installation, photography, collage and film – a practice that continues to move and develop while constantly taking on new challenges. For Genzken, life and existence are just as complex as art itself. Her work stands in contradiction to a ‘one-trick pony’ society and culture, which searches for happiness in simple answers. This is perhaps why she is such an important influence for so many artists of subsequent generations.

Publication

Isa Genzken at the German Pavilion, Venice 2007, published by DuMont Literatur und Kunst Verlag, Cologne.

Texts by Liam Gillick, Vanessa Joan Müller, Juliane Rebentisch and Willem de Rooij. With a conversation between Isa Genzken and Nicolaus Schafhausen.

This official publication for the German contribution at the 52nd Venice Biennale focuses on Isa Genzken’s site-specific work for the pavilion. The authors offer a range of different approaches to her work – a diversity necessary for an understanding of the complexity inherent in the artist’s practice.

Statements from the ISA GENZKEN SPECIAL at Witte de With on March 24th:
“Isa Genzken was emerging out the new avant-garde, out of minimalism but doing something with it that was quite alien to its own terms. I think that this in some ways set the tone for her relationship to modernism in general.”

Tate Liverpool

What is real in a place that changes so rapidly? All that was real in China one generation ago has now been discarded. The physical and social reality of China is changing so fast, how can we know what is real anymore?

After years of secrecy we are now more curious than ever to learn about the greatest economic power in the world. Artists in China have a new creative freedom and ambition which has brought about an explosion of endless possibilities.

The Real Thing will take you on a journey to discover the humour, excitement and creativity of this inexhaustible culture. Amongst other works you will see the summit of Everest, a replica of a real Chinese factory and a stunning fountain of light emerging from the Albert Dock.

This exhibition features new work from 18 Chinese artists and is a collaboration between Tate Liverpool and leading cultural figures in China. If you want to see what is happening in China right now then this is The Real Thing.

Artists include Ai Weiwei, Cao Fei, Xu Zhen and Wang Peng.

Exhibition
30 March – 10 June 2007
Tuesday – Sunday 10am – 5.50pm

Events:
Meet the curators and artists over breakfast to discuss Contemporary Chinese Art –
31 March, 11am. Pre booking required.
For details of more talks, tours and discussions surrounding the exhibition visit http://www.tate.org.uk/liverpool

Tate Liverpool, Albert Dock, Liverpool, L3 4BB
0151 702 7443
http://www.tate.org.uk/liverpool

Supported by the Liverpool Culture Company as part of the city’s preparations for European Capital of Culture 2008 with additional support from The Henry Moore Foundation and The Red Mansion Foundation.

For more information go to: http://www.tate.org.uk/liverpool

Artspeak

Edited by Melanie O’Brian with essays by:

CLINT BURNHAM, RANDY LEE CUTLER, TIM
LEE, SADIRA RODRIGUES, MARINA ROY, SHARLA SAVA, REID SHIER, SHEPHERD STEINER AND MICHAEL TURNER

Artspeak and Arsenal Pulp Press, 2007

Since the mid-1980’s, the once marginal city of Vancouver has developed within a globalized economy and become an internationally recognized centre for contemporary visual art. Vancouver’s status is due not only to a thriving worldwide cultural community that has turned to examine the so-called periphery, but to the city’s growth, its artists, expanding institutions, and a strong history of introspection and critical assessment. As a result, Vancouver art is visible and often understood as distinct and definable. This anthology complicates the notion of definability. It offers nine essays to address the organized systems that have affected contemporary art in Vancouver over the last two decades.

The essays in Vancouver Art & Economies collectively remark, both compatibly and contradictorily, on the economies at work in Vancouver art – its historical, critical, and political engagement; its sites of cultural production; and its theoretical and practical intersection with technology or policy. Considering a selection of conditions, focuses, and resources within the community, Vancouver Art & Economies marks shifting ideologies and perspectives on art, politics, society, and capital in Vancouver.

The book’s essays are by Vancouver writers, artists, and/or curators Clint Burnham, Randy Lee Cutler, Tim Lee, Sadira Rodrigues, Marina Roy, Sharla Sava, Reid Shier, Shepherd Steiner, and Michael Turner, and include colour and black-and-white images throughout.

Melanie O’Brian is Director/Curator at Artspeak in Vancouver. She has organized exhibitions locally and internationally, including at the Vancouver Art Gallery and has written for numerous catalogues and magazines.

Vancouver Art & Economies is co-published by:
Artspeak
http://www.artspeak.ca
artspeak@artspeak.ca
1.604.688.0051
and
Arsenal Pulp Press
http://www.arsenalpulp.com
info@arsenalpulp.com
1.800.600.7857

ISBN: 978-155152-214-2
236 pages, 13 b&w, 44 colour images

Vancouver Art & Economies was financially supported by the Canada Council for the Arts, the BC Arts Council, the City of Vancouver, Arts Now: Legacies Now 2010, the Spirit of BC Arts Fund, and the Hamber Foundation.

For more information go to: http://www.artspeak.ca

New Museum

The New Museum announces
The Altoids® Award

Four $25,000 prizes for emerging artists chosen exclusively by artists.

The New Museum and long-time supporter Altoids, the Curiously Strong Mints®, proudly announce the establishment of The Altoids Award. A first of its kind, the prize will be awarded biennially by the New Museum to four emerging artists nominated and selected by a panel comprised entirely of other artists. The award will consist of a $25,000 cash prize for each of the four winners – totaling $100,000 — as well as a joint exhibition at the New Museum’s new building on the Bowery.

The unique award selection process calls for a geographically and stylistically diverse group of ten artists to each nominate up to five emerging artists, which they have identified for producing especially innovative, unusual and powerful work. Nominators themselves were selected for the quality of their work and their proven commitment to publicly supporting the artistic community through writing, teaching, organizing exhibitions and running alternative spaces. The nominators for the first Altoids Award will be:

Edgar Arceneaux, Los Angeles
Allora and Calzadilla, San Juan, Puerto Rico
Mitch Cope, Detroit
Trisha Donnelly, San Francisco
Harrell Fletcher, Portland, OR
Jay Heikes, Minneapolis
Matt Keegan, New York
Rick Lowe, Houston
Frances Stark, Los Angeles
Michelle Grabner, Chicago

Several of the nominators – Edgar Arceneaux (2002), Trisha Donnelly (2001), Harrell Fletcher (2002) and Jay Heikes (2002) - were also selected early in their careers for the New Museum’s Altoids Curiously Strong Collection, which has always been committed to supporting young and emerging talent.

The first four Altoids Award recipients will be chosen from the nominated pool of artists by three established artists known for their ground-breaking work and for their unflagging commitment to engaging and supporting new talent: Paul McCarthy, Cindy Sherman and Rirkrit Tiravanija.

The recipients will be announced in early 2008, and a presentation of their work, organized by New Museum Curator Massimiliano Gioni, will debut in the first floor gallery of New Museum’s new Bowery home in fall 2008.

“The New Museum and Altoids have worked together for seven years to support and promote emerging artists,” said Lisa Phillips, Toby Devan Lewis Director, New Museum. “The Altoids Award expands on this unique relationship, offering an exciting opportunity for us to work with artists who support other artists to seek out new talent from across the country and present it to a broad public audience in a museum setting.”

About the New Museum
The New Museum, founded in 1977, is the only museum in New York City dedicated exclusively to contemporary art. In 2005, the New Museum began construction on a new home at 235 Bowery at Prince Street. This 60,000 square-foot facility, designed by the Tokyo-based firm Sejima + Nishizawa / SANAA, will greatly expand the Museum’s exhibitions and programs. For the most up-to-date information, visit http://www.newmuseum.org.

About Altoids
Altoids has worked to advance the careers of emerging artists since 1998. In addition to its ongoing support for numerous contemporary art organizations and exhibitions, the Altoids Curiously Strong Collection supports today’s emerging artistic talent by providing meaningful exposure and recognition in a public art forum. In 2000, Altoids donated the entire Curiously Strong Collection, as well as all subsequent works, to the New Museum, adding significantly to the Museum’s holdings and marking its first-ever acceptance of a corporate collection. During the past seven years, Altoids has donated more than 155 extraordinary works that represent an innovative and adventurous approach to visual arts and patronage to the New Museum’s permanent collection. Through The Altoids Award, the New Museum and Altoids will continue to nurture their long-standing partnership and commitment to undiscovered artists.

New Museum
210 11th Avenue, 2nd Floor
New York, NY 10001
212-219-1222
http://www.newmuseum.org

For more information go to: http://www.newmuseum.org

Villa Manin

Hiroshi Sugimoto
Curated by: Francesco Bonami

1st April – 30th September 2007

Villa Manin Centre for
Contemporary Art
Passariano, Codroipo (Udine) Italy
Tel: +39 0432 821211
Fax: +39 0432 908387
http://www.villamanincontemporanea.it
info@villamanincontemporanea.it

Villa Manin Centre for Contemporary Art announces the opening on April 1st 2007 of the first large-scale exhibition in Italy dedicated to Hiroshi Sugimoto, one of the most important photographers on the international contemporary art scene.

The show, curated by Francesco Bonami, brings together fifty large-scale photographic works and two sculptures by the Japanese artist.

The great variety of works presented touches on all the themes of the artist’s work, from the first Dioramas in 1975 to the series Theaters, Seascapes, Portraits, Conceptual forms, up to the new projects Lightning Field and Talbot.

Strongly inspired by the conceptual and minimalist tradition, Hiroshi Sugimoto’s works deal with the idea of photography and deny its limits and definitions. As Francesco Bonami says: “Sugimoto’s work is a search into the origins of History, be this the zoological history of the earth or that of human actions, seen, symbolically, through the passing of time inside the camera lens and by using film as the surface of memory”.

The artist, impressed on his very first visit to Villa Manin by the seventeenth century building which will host the show, has conceived the entire installation plan creating, between his works and the exhibition spaces, a series of references and allusions which can be apparent but also more subtle, as to involve the visitor in a mental game that unravels through the various rooms. An example of this is the bedroom on the ground floor – the one that Napoleon used to sleep in when he chose Villa Manin as his headquarters for a new redefinition of Europe. In this very room the photograph Napoleon Bonapart is displayed, a work belonging to the series Portraits, through which the artist portrays historical figures and contemporary personalities. All the photographs of this theme group have been taken by isolating and illuminating on black backdrops wax statues present in various museums, thus emphasizing the reference to the models by which they are inspired, such as the paintin
gs by Jacques-Louis David and Hans Holbein.

Hiroshi Sugimoto has been extremely respectful of the exhibition spaces, unveiling the walls and frescoes of the dogal residence: a few photographs - placed on simple easels designed by the artist himself - characterise each room, with the exception of the one that combines, almost like a family reunion, Henry VIII and the portraits of his unfortunate wives.

Throughout this retrospective all the various series can be encountered, such as the Dioramas, that are characterised by scenes of primitive life taken in natural history museums and that disorientate the viewer, who is used to associate a certain type of documentary photography with the reproduction of reality; or the series entitled Theaters, taken in cinema-theatres of the Twenties and Thirties such as the Radio City Music Hall in New York and the Metropolitan Theatre in Los Angeles. Here Sugimoto tried to condense the flow of time and the perception of space into a single moment, levelling out the exposure time and that of the duration of the film projection. The white and bright rectangle that derives from it illuminates the otherwise dark room and contains the traces of a longer unit of time. Time is also the protagonist of the series Seascapes, where water and air meet exactly halfway in the image, in the attempt to recreate the first, absolute vision of the sea experi
enced by the ancient explorers.

The desire to test his ability to reproduce the “non representable” has lead the artist, over the years, to confront tangible models in order to express theoretical and spiritual concepts, such as the curved surfaces of Conceptual Forms that represent numerical formulae.

With the use of sophisticated games of illusions and references, Sugimoto pushes the viewer to actively confront the image and the ambiguous weave between time and memory that it communicates.

Exhibition details

Title: HIROSHI SUGIMOTO

Curated by: Francesco Bonami

Dates: 1st of April – 30th September 2007

Venue: Villa Manin Centre for Contemporary Art
Piazza Manin 10, Passariano, 33033 Codroipo (UD), Italy

Opening hours: from 1st April – 3rd June 2007, Tuesday - Friday 9 a.m. - 6 p.m.
Saturday and Sunday 10 a.m. - 8 p.m.
from 5th June – 30th September 2007, Tuesday – Sunday 10a.m. – 8 p.m.
Closed Mondays

For information: Tel: +39 0432 821211 Fax: +39 0432908387
http://www.villamanincontemporanea.it
info@villamanincontemporanea.it

For more information go to: http://www.villamanincontemporanea.it

CALIFORNIA COLLEGE OF THE ARTS

CALIFORNIA COLLEGE OF THE ARTS CELEBRATES 100TH ANNIVERSARY
A Yearlong Schedule of Programs and Events

The centennial celebration continues at California College of the Arts. A host of celebratory events will be held at locations both on- and off-campus. As a tribute to the college’s influence and reputation, more than 40 galleries and museums from New York to Los Angeles and the Bay Area have organized exhibitions to celebrate the centennial. Highlights for coming weeks include:

Through April 22: 100 Families Oakland: Art & Social Change, Oakland Museum of California

Through August 16: California College of the Arts at 100: Innovation by Design at San Francisco Museum of Modern Art

April 1: Graduate Open Studios, San Francisco campus

April 25: Centennial Gala and Threads Fashion Show at Fort Mason in San Francisco

May 10–19: Graduate Exhibition, San Francisco campus

May 26–July 14: CCA(C) at the Di Rosa Preserve: The Collection in Context

Other highlights include Celebrating a Centennial: Contemporary Printmakers at CCA at the de Young Museum September 29, 2007–April 20, 2008; and CCA: 100 Years in the Making, at Oakland Museum of California October 13, 2007 through January 27, 2008.

Galleries and museums participating in CCA’s centennial include 871 Fine Arts, American Craft Council, John Berggruen Gallery, Berkeley Art Museum, Rena Bransten Gallery, Braunstein/Quay Gallery, Cantor Center for Visual Arts at Stanford University, Charles Campbell Gallery, Claudia Chapline Gallery, Crown Point Press, Di Rosa Preserve, Gallery Paule Anglim, GarageGallery, Brian Gross Fine Art, Hackett-Freedman Gallery, Haines Gallery, Jack Hanley Gallery, Nancy Hoffman Gallery, Hosfelt Gallery, Intersection for the Arts, Gregory Lind Gallery, Walter Maciel Gallery, Judah L. Magnes Museum, Heather Marx Gallery, Modernism, Montclair Gallery, Museum of Craft and Folk Art in San Francisco, Oakland Museum of California, Palo Alto Art Center, Paulson Press, ProArts Oakland, RayKo Photography Center, Richmond Art Center, San Francisco Museum of Craft + Design, San Francisco Museum of Craft and Folk Art, San Francisco Museum of Modern Art, Sculpturesite Gallery, Andrea Schwa
rtz Gallery, Small Press Traffic, Patricia Sweetow Gallery, Thompson Art Gallery at San Jose State University, Traywick Contemporary, Triangle Gallery, and Stephen Wirtz Gallery.

About the college
From its humble beginnings in 1907 with three classrooms, 43 students, and three teachers, California College of the Arts (CCA) has developed into one of this country’s most prestigious colleges of art and design. Today CCA boasts state-of-the art campuses in San Francisco and Oakland, 19 undergraduate and six graduate programs, 1,660 fulltime students, nearly 500 faculty members, and an estimated 14,000 alumni.

For a complete list of CCA’s centennial activities, please visit http://www.cca.edu/100 .

For more information go to: http://www.cca.edu/100

Artists Space

MARCH 30 – MAY 12, 2007
OPENING RECEPTION: FRIDAY, MARCH 30
6:00-8:00 PM

Artists Space
38 Greene Street, 3rd Floor
New York, NY 10013
Phone: 212.226.3970
Fax: 212.966.1434
email:artspace@artistsspace.org

MAIN SPACE
KIOSK (XIX) – Modes of Multiplication
Curated by Christoph Keller

CAMPARI PROJECT SPACE
Caution: Five hungry Soviet cows are in the garden
Richard Massey
Curated by Christian Rattemeyer

PROJECT SPACE
REALLIFE Magazine: 1979-1990
Curated by Kate Fowle

PROJECT SPACE
Patina du Prey’s Memorial Dress: 1993 to 2007
Hunter Reynolds
Curated by Cay Sophie Rabinowitz and Christian Rattemeyer

For more information please visit http://www.artistsspace.org

For more information go to: http://www.artistsspace.org

Museum Ludwig

What does the jellyfish want?
Photographs from Man Ray to James Coleman

31 March till 15 July 2007

Museum Ludwig
Bischofsgartenstr. 1
50667 Köln
Tel: 49-221-221-26165
Fax: 49-221-221-24114
info@museum-ludwig.de

http://www.museenkoeln.de/museum-ludwig/

What does the jellyfish want? This question was raised by artist Christopher Williams during an interview in which he explained why he finds this sea-creature so fascinating: without shape, without a skeleton, and without a sex, a jellyfish is a creature without properties. In keeping with this, the jellyfish is a fitting metaphor for photography in contemporary art and serves as the motto for the exhibition: What is photography? Copy of reality or data source that may be altered as desired? Documentation or staged image? Found footage or extravagantly made exposure? With three historical links back to the avant-garde at the dawn of the 20th century, the exhibition shows current tendencies in photography against the backdrop of its traditions.

The exhibition includes a historical review which highlights Surrealist photography around Man Ray, the photographs, photogrammes and collages of the Constructivists such as László Moholy-Nagy and A.M. Rodchenko, as well as August Sanders “Man of the Twentieth Century”.

These early standpoints will be presented in the context of current works, which are grouped around the major advances in contemporary art photography. These include, for instance, the rediscovery of photography in the actionist and conceptual currents of the 1970s. By the end of the seventies a new development manifested - a move from the photographic representation of reality to a reflection on and reinvention of already existing photographic images. Over the last ten years the documentary approach has been rediscovered as an artistic stance in its own right.

The fundamental aspiration to make reality visible in photographs, and to explore and analyse it, is now shared by artists who like Andreas Gursky process the photographic material on the computer.

Museum Ludwig showed the way in the mid-seventies when it was the first art museum to acquire, for instance, the Gruber Collection, as well as a number of the pivotal works of contemporary photography by artists such as Bruce Nauman, Dennis Oppenheim, Douglas Huebler, Bernd and Hilla Becher, to name a few. Since then the collection has constantly expanded so as to visualise the entire evolution of art photography and bring it right up to the present day. The collection’s treasures will be presented together with its recent acquisitions.

List of Artists:
Robert Adams, Eugène Atget, John Baldessari, Thomas Bayrle, Bernd and Hilla Becher, Anna and Bernhard Johannes Blume, Mel Bochner, Joachim Brohm, James Coleman, Jan Dibbets, William Eggleston, Valie Export, Hans Peter Feldmann, Lee Friedlander, Albrecht Fuchs, Gilbert & George, Andreas Gursky, Jitka Hanzlova, Florence Henri, Candida Höfer, Douglas Huebler, Sanja Ivekovi, Benjamin Katz, André Kertész, Jürgen Klauke, Louise Lawler, Jochen Lempert, Barry Le Va, Manfred Leve, Sherrie Levine, Sol LeWitt, Gordon Matta-Clark, Boris Mikhailov, László Moholy-Nagy, Robert Morris, Bruce Nauman, Gabriele and Helmut Nothhelfer, Dennis Oppenheim, Peter Piller, Man Ray, Alexander Rodchenko, Thomas Ruff, Ed Ruscha, August Sander, Gregor Schneider, Ursula Schulz-Dornburg, Cindy Sherman, Robert Smithson, Thomas Struth, Wolfgang Tillmans, Jeff Wall, Robert Watts, Stephen Wilks, Stephen Willats, Christopher Williams and David Wojnarowicz.

A richly illustrated and wide-ranging catalogue will by published by Verlag der Buchhandlung Walther König, containing articles by Bodo von Dewitz, Barbara Engelbach, Herbert Molderings und Herta Wolf.

For more information go to: http://www.museenkoeln.de/museum-ludwig/