HERBERT BRANDL

Katana

Klaus & Elisabeth Thoman (Eds.)

Herbert Brandl, considered one of the noted figures of the German new painting movement of the 1980s, continues to make work of a highly personal and affective nature. Immediately following the opening of his exhibition of monotypes at Vienna’s Albertina in 2010, the artist underwent emergency surgery due to an acute aneurysm. In the months and years since, Brandl has used his painting to meditate on the violence and physical pain of that experience. In this new publications, featuring Brandl’s latest series Katana, reproductions of his lush abstract colorscapes are juxtaposed with images of Japanese samurai swords. The folds of the steel katana blade begin to resemble a mountain panorama, while traces of the scalpel and the violence done to the artist’s own body become emotionally present in the paintings themselves.

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HERBERT BRANDL

Sommerschnee

Klaus & Elisabeth Thoman (Eds.)

Austrian painter Herbert Brandl’s well-known landscapes—which often present dramatic natural phenomena—oscillate between an incredible closeness and a great distance. Brandl (b. 1959), whose career first climaxed in 1992 exhibitions at dOCUMENTA (9), Kassel, has also been a professor since 2004 at the Academy of Art in Düsseldorf, Germany. Living and painting in Vienna, he generally takes inspiration from photographic mementos, which he collects in an archive. By doing so, he manages to translate the impression of immediate personal experiences into the medium of painting. In the process, seeing and perceiving for Brandl are in constant dialogue and give rise to a very distinctive interplay of abstraction and representation. His sweeping form of Color Field painting just barely retains a spatial dimension. Summersnow shows some of Brandl’s newest works together with earlier pieces. The hardcover book also includes texts by Andreas Krištof and Margareta Sandhofer.

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GETA BRATESCU

The Studio

Alina Serban (Ed.)

The book is dedicated to Romanian artist Geta Brătescu, one of the most remarkable personalities of the Eastern European postwar avant-garde. The main part of the publication comprises visual materials and texts written by the artist that span several decades of her activity, outlining the exceptional manner in which she has appropriated the lesson of modernism and interrelated it with conceptual challenges.

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GETA BRATESCU

Hubertus Gassner & Brigitte Kölle (Eds.)

Romanian artist Geta Brătescu (b. 1926), whose career began in the 1960s, continues to be a pivotal figure in postwar Romanian art. To celebrate her 90th birthday, the new hardbound exhibition catalog from Hamburg Kunsthalle, compact and elegantly designed, is the first comprehensive survey of her work outside Romania. Brătescu’s long and rich career working in photography, performance, drawing, collage, illustration and film is extensively illustrated and documented. A comprehensive interview by exhibition co-curator Brigitte K.lle and an essay by Romanian art historian/curator Magda Radu, among other contributors, and a complete biography offer an introduction to her innovative and varied oeuvre and the life that shaped it. The line functions in all of Brătescu’s work, as a mode of definition, measurement and movement, from the classical draftsmanship of Hands (1974–76) to the body performing in space in The Studio (1978). Her work has been featured most recently at Tate Liverpool and the Contemporary Art Museum, St. Louis.

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Agnieszka Brezanska

L’artiste, Le Modèle et La Peinture

The first monograph for Polish-born Agnieszka Brzezanska, this artist book offers a compelling compilation of her mysterious, subtle and deeply felt photographs, paintings and videos. The book’s title was taken from a poster for a Picasso exhibition that the artist photographed and used as the poster for her own show – creating a ready-made accentuating the rain-smudged lettering of the original poster. The peach-colored cover of this soft-cover book – with its image of a kinked heart referring to her heart paintings and her musical video, Heart Play – makes the book seem like something discovered at a kiosk on the banks of the Seine. The monograph was developed while Brzezanska was a guest of the Berlin DAAD artist-in-residence program. With a compelling essay by Andrew Renton.

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BRICE DELLSPERGER’S BODY DOUBLE

Posture and High Heels

Brice Dellsperger’s Body Double is the first monograph ever published on the artist’s already cult film productions, with a long essay by art historian Marie Canet that addresses filmic remake, but also issues of models, gender politics, and representational chaos. Containing a large body of unpublished images, the book also invites the reader backstage – as in Kenneth Anger’s Hollywood Babylon, after which this book is modeled – into the Dellspergian camp film factory, to get a closer look at the characters and personas that populate the Body Double series, and that are creations both of the artist and of his main performer and muse, Jean-Luc Verna.

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GLENN BROWN

Etchings (Portraits)

John-Paul Stonard

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CECILY BROWN

The Sleep Around and the Lost and Found

Terry R. Myers

Internationally recognized New York–based painter Cecily Brown (b. 1969) explores the breadth of human experience in her tactile oil paintings. Extensive full-page color reproductions of Brown’s latest paintings and their installation at Contemporary Fine Arts, Berlin (2015), are complemented by a thoughtful essay on the artist’s career by critic, educator and curator Terry R. Myers in this elegant volume. Broadly inspired by the history of painting—from Rubens and Veronese to the muscular expressionism of Willem de Kooning—Brown’s personal vision transcends classical notions of genre and narrative, freeing subject matter from its original context and positioning it within a new aesthetic reality. Internationally collected by institutions including Solomon R. Guggenheim Museum, NY; Whitney Museum of American Art, NY; Museum of Fine Arts, Boston; and Tate Modern, London, among many others.

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BRUCE AND NORMAN YONEMOTO

Memory, Matter and Modern Romance

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Bruce High Quality Foundation

The Transsubstantiation of Bruce

The anonymous Brooklyn-based tricksters of the Bruce High Quality Foundation are back, this time with a cheeky take on the religious habits of their fictitious artist namesake in this colorful catalog accompanying exhibitions at CFA, Fine Arts Berlin and the Brooklyn Museum New York. It would surprise many to know that Bruce High Quality attended weekly Mass. Scourge of both the radical left and the religious right, it’s difficult to imagine the world s greatest ironist as a true believer. Nonetheless, there he was, week after week, checking in with the man upstairs. From The Sacraments, his masterful series of Play-Doh reliquaries, to the grand triptych self-portrait Father, Son, and Holy Ghost, which casts Bruce High Quality s death mask, their intention to bring us face to face with the great beyond is shameless.

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