Josef Albers: Minimum Media, Maximum Effect offers a new comprehensive monograph focusing on the artist’s abiding concern for clarity and simplicity. This selection of works demonstrates the continuity of Albers’ austere and luminous vision throughout his prolific artistic output. An output that ranged from furniture design and figurative line drawing to engraving and painting, including his renowned Homage to the Square.
This substantial, 362-page survey covers some 170 works, archival documents such as Albers’ notes and journals, and dozens of essays and scholarly discourses on art, pedagogy and philosophy.
It is available here.
This catalogue, published on the occasion of an exhibition at Gagosian Gallery, Hong Kong, centers on a set of 150 lithographs made by Giacometti. These prints focus on cafés, boulevards, and his own atelier in his beloved Paris. Fully illustrated this book also includes two small booklets that fit inside the front and back covers. One is a facsimile of the book of Paris sans fin prints, 150 total, and the second booklet is the entire preparatory maquette for the project.
In depth and very detailed, holding nothing back on the publication.
Le Corbusier carried a sketchbook with him nearly everywhere throughout his life. He jotted down everything that caught his interest—buildings, people, pictures, ideas, projects, objects.
Prior to this publication by Architectural History foundation and the MIT Press, Le Corbusier’s heirs, the Fondation Le Corbusier in Paris, have zealously protected these sketchbooks, only making them available for scholars to examine in their Paris vault.
The first volume, shown above, covers the period 1914-1948 and includes drawings from the architect’s training, notes on his life in Paris and his first recorded thoughts and subsequent ideas on city planning, sketches from a Zeppelin trip to South America, his own critique of his Villa Savoie, the conception of the Unité d’habitation for Marseilles, writings on his Pessac housing project, the evolution of the Voisin Plan, and his evaluation of Villa Mandrot, often cited as the turning point in his architectural style.
We have the complete 4 volume set available here.
Edward Kienholz, an often over looked artist of the Beat Generation, was more appreciated in Europe than in his native America. His work, usually in collaboration with his wife & partner Nancy Reddin Kienholz, was highly critical of modern American life.
This volume lavishly documents his assemblage and installation works.
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Industrial photographers Bernd & Hilla Becher were all about documentation- allowing the structures in their spaces to do the speaking. In The Mill photographer Matthias Schaller takes the reader on an intimate and thorough tour of their live/work studio.
Following in the documentation tradition of the Becher’s each shot of Schaller’s, beginning with the ivy covered entrance, through the stackably-organized work area and calm living spaces, allows space for the artist’s objects to do the speaking.
It is available here.
Born in Berlin Weber initially trained as a cabinet maker before enrolling at a Decorative Arts Program. After graduating in 1912, Weber went on to work in Bruno Paul’s office. While working for this office Weber was sent to our fair town of San Francisco to supervise the work on the German pavilion being built. However the onset of World War I prevented him from returning to Germany, leaving him stranded in California.
As is tradition with most literal and metaphorical re-births that come from “going West”, Karl Emanuel Martin Weber, utilized his initials to adopt the less Germanic sounding name of Kem. After designing some Spanish Colonial houses in Santa Barbara, Kem migrated towards the Los Angeles area where he re-focused on industrial design and established his own independent design studio.
This monograph is a great collection of all of Weber’s work. It is richly illustrated and shows in detail Weber’s style classified as “streamline moderne”.
It is available here.
The German-American Artist Lyonel Feininger begin his work as a fine artist at the age of 36, after many years as a commercial caricaturist for magazines and newspapers. This collection of woodcuts clearly shows his role as a leading figure of the Expressionist movement.
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