Scheidegger & Spiess Art I Photography I Architecture

International New titles 2018–19 Content

5 Christoph Schaub 8 / 9 (compilation) Swiss Environmental Peter Zumthor Talks About 6 / 7 Action Foundation (editor) His Work Ruch & Partners Architects Dry Stone Walls A Biographical Collage Fundamentals, Construction 4 (editor) Guidelines, Significance Stanislaus von Moos, Close-up—Ruch & Partners Martino Stierli (editors) Architects 1996–2018 Eyes That Saw Architecture after Las Vegas

12 / 13 Almut Grunewald (editor) 16 The Giedion World 14 / 15 Mirjam Fischer, Anna Sigfried Giedion and Roland Jaeger Niederhäuser (editors) Carola Giedion-Welcker Photo-Eye Fritz Block Susi + Ueli Berger in Dialogue New Photography Furniture in Dialogue Modern Color Slides 10 / 11 Ivan Žaknic Klip and Corb on the Road The Dual Diaries and Legacies of August Klipstein and Le Corbusier on their Eastern Journey, 1911

20 Michael Auping (editor) Cosmic Theater The Art of Lee Mullican 18 Werner Feiersinger Overturn

19 Storm Janse van Rensburg (editor) Jacob Lawrence 17 21 Lines of Influence Antonella Camarda (editor) Michael Bird (editor) Bettina Pousttchi Lynn Chadwick A Sculptor on the Inter-national Stage 26 25 22 / 23 Dominic Büttner Meinrad Schade Jill Mellick Dreamscapes The Red Book Hours Unresolved Discovering C.G. Jung’s Art Mediums and Creative 24 Process Minoru Onoda

29 28 Katrin Luchsinger, Helen Tom Haller—Nuggets 27 Hirsch, Thomas Röske American Landscapes Colombia (editors) On the Brink of Paradise Extraordinary! Unknown Works from Swiss Psychiatric Institutions around 1900

30 Rahel Hartmann-Schweizer Schwarzflug 30 Oliver Schwarz Katja Baumhoff (editor) Drawings and Paintings 31 Othmar Eder 31 Kesselhaus Josephsohn Finding Images Fanni Fetzer (editor) (editor) Claude Sandoz. A Kind of Hans Josephsohn Panorama Exhibition Photographs Anse Chastanet, St. Lucia 1997–2018

32 Nordamerika Native Museum Zurich (editor) 32 Karl Bodmer Wilfried Dechau (editor) A Swiss Artist in America Nossa Punt 1809 –1893 Tavanasa—Bridges Landscape Edited by Stanislaus von Moos and An intellectual panorama on the Martino Stierli significance and legacy of Learning from Las Vegas, a classic of mod- Paperback ern architectural theory approx. 256 pages, 100 color illustrations Collects previously unpublished 14 × 21 cm (5½ × 8¼ in) original essays by Stan Allen, Eve 978-3-85881-820-1 English Blau, Beatriz Colomina, Valéry Di- CHF 49.00 | EUR 48.00 delon, Elizabeth Diller, Peter GBP 45.00 | USD 49.00 Fischli, Dan Graham, Neil Levine, ARCHITECTURE Mary McLeod, Rafael Moneo, Stanislaus von Moos, Katherine MAY 2019 (Europe) Smith, Martino Stierli, and Karin JULY 2019 (US) Theunissen, as well as postscripts by Robert Venturi and Denise Scott Brown

Richly illustrated with images of icons of Las Vegas architecture

Eyes That Saw

What can architects At the peak of the 1968/69 students’ riots at American Universities, Robert Venturi and learn from Las Denise Scott Brown, together with Steven Izenour, pursued their Design and Research Studio on the topic of Las Vegas at Yale School of Architecture. The resulting book, Vegas today? Learning from Las Vegas, became a classic almost instantly upon its first publication in 1972. It excited the 1970s architecture world and continues to be an influence for architects, teachers, and theoreticians to the present day. Some forty years later, this new book offers a richly illustrated collection of essays by renowned scholars of art and architectural history, eminent architects, and artists, who revisit Learning from Las Vegas and its legacy from various perspectives. All build on the knowledge of the radical influence the book has had on architecture and urban design, visual art, and even on history in a broader sense. Published alongside the texts are documents from the Venturi, Scott Brown & Associates Archive at Uni- versity of Pennsylvania, as well as an illustrated chronology of the international media response to the publication of Learning from Las Vegas in 1972.

Stanislaus von Moos has been a professor of art history at University of Zurich, 1983–2005, and a visiting professor of art history at Yale School of Architecture, 2010–14.

Martino Stierli is the MoMA’s Philip Johnson Chief Curator of Architecture and Design and an SNF Professor for the History of Architecture and Art at University of Zurich.

N ew titles 2018–2019 4 Compiled by Christoph Schaub New biographical film collage on celebrated architect Peter DVD in cardboard cover Zumthor Films in original language version with English subtitles 71 minutes total play time, ar- Playing time approx. 71 mins, color ranged into eight chapters 14 × 19 cm (5½ × 7½ in) 978-3-85881-915-4 English Includes a wealth of newly pro- CHF 39.00 | EUR 39.00 duced or previously unreleased GBP 35.00 | USD 39.00 material from interviews, conversa- ARCHITECTURE tions, lectures, and public talks with and by Zumthor AVAILABLE

Peter Zumthor Talks about His Work A Biographical Collage

A unique biograph- Over the past thirty years, Swiss architect Peter Zumthor has talked on numerous ical film collage occasions and in a range of contexts about his work and his self-conception as an architect. Many of his statements have been recorded on film. From this wealth of on the celebrated interviews and conversations, lectures, and public talks, Christoph Schaub—Swiss architect film director and internationally renowned author of documentaries on architects and architecture—in collaboration with Atelier Peter Zumthor composed a biographical film collage. It spans Zumthor’s entire career from its early days in the 1980s until today and also includes conversations between Zumthor and Schaub that have been newly recorded for this compilation. This portrait also introduces us to Zumthor as an individual who has changed over three decades, yet somehow remained the same. He answers the interviewer’s ques- tions with authenticity, integrity and passion, elaborating on his ideas and stances. His statements reveal sensitivity and consistency and bear witness to a person who has always followed his inner compass and ideals.

Christoph Schaub is one of Switzerland’s most eminent film directors. Apart from documentaries on a range of topics he has also realized various dramas and comedies.

N ew titles 2018–2019 5 27

Albanatscha Substation, Silvaplana

Built 1994–1996

The Albanatscha substation is fed by the existing 150-kilovolt an ordinary house and seems more like a topographic fortifi- power transmission line that connects the Engadin via the cation inextricably fused to the terrain, a true landmark. Bernina and Julier Passes with Val Poschiavo and the valley of The sometimes very large quarry stones of the encasing wall, Oberhalbstein, where it is again linked to the international which tapers upward at a ratio of 1:7 and has separate founda- grid via transformers in each case. From here, the power is fed tions to disconnect it completely from the core building, con- into the 60-kilovolt supply network serving the Upper Engadin. sciously exhibit traces of their extraction and handling, such For selecting the location, proximity to the existing 150-kilo- as the holes needed for the blasting and splitting processes. volt line across the Julier Pass and good accessibility consti- The building’s edges, the entry portal, and the surrounds of tuted the two most important site conditions. the glass-block fields, on the other hand, are built of sharply The building is situated above the Julier Pass road, in the cut stones, producing the desired crystalline effect and a clear Stüerta Granda. The site was chosen so that the substation lies refraction of light. outside the avalanche zone. Of particular note in this regard was our intensive collabora- The individual spaces in the building are arranged and orga- tion with the engineer Jürg Conzett for the planning of the nized according to the flow of the electrical current. The trans- outer wall and the anchor portal. former cells and the switchgear are arranged around the cen- The building’s roof surface, which is covered with large stone tral assembly hall with its 100-ton crane and large access door. slabs, completes the stone cube and ensures that the substa- From here, ancillary spaces that are spread over four levels can tion, which is visible from various locations, is able to assert be reached via a stair and elevator core. itself and integrate within the stately mountain scenery thanks It quickly became clear that given the prominent location, the to its powerful appearance and the identity of the material. huge building volume (approx. 16,000 cubic meters) that was The two large glass-block fields cannot be misconstrued as needed, and the environmental impact on the landscape, any normal window areas. Their appearance is more like mica or association with an ordinary “house” should be avoided. This quartz inclusions in a large rock. project’s architectural concept is based on the theme of the The central assembly hall, which serves as the hub of opera- flow and force of energy. tions, is accessed along a drive that cuts through the terrain The building mass is consciously laid out radially to the branch perpendicularly to the building, following the shortest route mast of the Julier line. The guying structure indicates where from the Julier Pass road. the energy flows into the ground, causing it to be “lifted up” The large entrance door (6 × 7 meters) is constructed mono- As a result, a ridge is created on the existing crest in the terrain. lithically of untreated brass and can be silently moved aside By using quarry stone from the excavation (in some cases, with the push of a button. blast rock) to encase the above-ground portion of the struc- ture, which makes up about half of the total cubic volume of the building, and by continuing the side walls until they disap- pear into the terrain, the structure precludes comparison with

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The work of St. Moritz-based Ruch & Partners Architects, who have made a name for themselves with their exquisite contemporary interventions in historic houses in the Engadine

184 185 75 Edited by Ruch & Partners Architects Documents the entire rage of With contributions by Hans-Jörg Swiss firm Ruch & Partners Archi- Ruch and Franz Wanner tects’s work to date Photographs by Filippo Simonetti Features 32 realized designs in Hardback detail, including the famous inter- 424 pages, 272 color and ventions in historic houses in the 300 b/w illustrations and plans Engadine 27.5 × 29.5 cm (11 × 11½ in) 978-3-85881-797-6 English Lavishly illustrated throughout 978-3-85881-553-8 German with color photographs and with CHF 150.00 | EUR 140.00 selected plans | GBP 130.00 USD 160.00 A beautiful present for architecture ARCHITECTURE lovers and anyone with an interest in historic houses NOVEMBER 2018 (Europe) FEBRUARY 2019 (US)

Close-up—Ruch & Partners Architects 1994–2018

In 2009, the book Historic Houses in the Engadin: Architectural Interventions by Hans-Jörg Ruch brought the name and work of this Swiss architect to international attention. His new book, in equally opulent design and again lavishly illustrated, now documents the entire range of his achievements over nearly twenty-five years. His oeuvre comprises private homes and multi-unit residential buildings, public structures such as museums or libraries, as well as infrastructure. A special focus of the firm’s work is the rebuilding and restoration of existing and, in particular, of historic build- ings. Close-up—Ruch & Partners Architects 1994–2018 features thirty-two of the firm’s realized buildings to date, including the restored historic houses in the Engadine with their careful and sensitive contemporary interventions that have earned them recog- nition internationally. Each project is presented with atmospheric photographs and selected plans that demonstrate the firm’s approach and concepts along with a concise text. An essay on Ruch’s architecture in the context of his biography and the Swiss mountainous landscape rounds out this beautiful monograph.

Hans-Jörg Ruch graduated in architecture from ETH Zurich and obtained a Master’s degree from Rensselaer Polytechnic Institute PRI in Troy, NY. After working for various Swiss firms, he established his own studio in St. Moritz in 1989, operating as Ruch & Partners Architects since 2010.

N ew titles 2018–2019 7 T H E T A S K : DIFFERENT TYPES OF STONE WALLS

There are several types of dry stone walls. Primarily, one can differentiate between free-standing walls and retaining walls. A particular wall can, however, alternate between the two types or merge both types. Walls which neither support nor stand freely are classified as revetments. Stone walls which function as a part of a building are called building walls.

Free-standing Walls

ree-standing walls were historically built as property or pasture boundaries: when wood was hard to come by, when hedges did not grow well, when posts could not be pushed into the ground or when troublesome stones needed to be removed from the useable space and were piled up as a bank or wall on the property boundary.

Retaining wall

Massive stone walls for retaining road and railway embankments are rarely built any longer. The imposing stone wall structures of past centuries such as the Got- thard Road and Railway nevertheless still perfectly fulfill their function today. Current stone projects of this sort, however, increasingly involve only the mainte- nance of these existing structures. Retaining walls must resist the earth mass which is being held back and not break apart, slip away or tip over. The type of stone, dimensioning and cross-section design must be competently specified and constructed. This requires diligence in determining the building site as well as in the planning, logistics and construction. Depending on the length and size of the wall, competent skilled experts should be involved in the planning process from the beginning. Free-standing wall Retaining walls up to a height of about one meter lend themselves well to gathering initial experience. They function exactly like higher walls but are more manageable as construction projects in terms of the material and the safety requirements. Today free-standing dry stone walls are frequently built for the purpose of preser- vation of the landscape or nature. The walls are often between 0.5 and 2 meters Revetment Walls high. Depending on the region and purpose, pasture walls can be found with well- established standard heights between 0.9 and 1.6 meters but some are even taller. Revetments are built as facings of stable slopes. They prevent stones and outcrops from breaking out of their resting place and falling, and also protect the slope Retaining Walls against weathering. Since revetments normally need not accommodate the force of earth pressure, they can be fairly narrow. Because the requirements are variable Retaining walls, also called supporting walls, are built to terrace a slope or hill- and not well known, a true static calculation is not possible. Revetments are con- side. The walls make the cultivation of agricultural crops easier, protect the slope structed based on empirical values and construction rules. Should there be doubt against erosion and enable its improvement with level pathways. Today new about the stability of the ground, the revetments must be treated as retaining walls. retaining walls are also frequently erected as a design element in gardens and parks. If there is a gap between a revetment and the solid ground and it is filled with loose

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Auch freistehende Mauern werden mit einem leichten Anzug ausgeführt, da sie dadurch an Standsicherheit gewinnen. Exakt vertikale Sichtflächen sind nur bei Gebäude- oder Einfriedungsmauern üblich, da diese über die Ecken oder Rundun- gen in sich ausgesteift sind. Zuweilen werden jedoch vertikale Hauptflächen ge- baut, wenn exakt rechtwinklige Steine verwendet werden. Mit solchen Bausteinen ist eine hohe Standfestigkeit auch ohne Anzug gewährleistet.

Japanische Stützmauern haben oft unten einen großen Anzug und oben einen kleinen, z. B. bei dieser a b a b Mauer bei der Burg Kumamoto in Kumamoto.

Stützmauern im stabilen, steilen Gelände, hier bei 45 Grad. Vom Anzug hängt ab, wie viel Stein für eine bestimmte Nutzung benötigt wird. Bei einer landwirtschaftlichen Terrassierung ermöglichen sen- krechte Stützmauern (a) etwa einen Drittel mehr Nutzfläche, als wenn die Mauern einen Anzug von 25 Prozent aufweisen (b); sie benötigen dafür aber etwas mehr Stein, hier ein Drittel. Geht es hingegen um eine einzige Terrasse mit einer definierten Breite, z. B. für einen Bergweg, ist es umgekehrt. In diesem Beispiel benötigt die Stützmauer mit 25 Prozent Anzug etwa ein Drittel mehr Stein als eine senkrechte Stützmauer. Den Anzug der Rückwand festlegen Im Kapitel Boden und Baugrund wird der Zusammenhang zwischen Erddruck und Neigung der Rückwand beschrieben. Eine Neigung zum Hang hin ist gut bei stabilen Böden, eine Neigung weg vom Hang ist geeignet zum Zurückhalten von instabilen Böden und Wasser. Eine mehr oder weniger vertikale Rückwand, also eine mit wenig oder keinem Anzug, ist immer möglich und bei mittelstabilen Böden optimal. Diese seltene Kragmauer des Schieferbergwerks Gorseddau bei Cwmystradllyn in Wales zeigt, dass große Außer vom Boden hängt die Wahl des Rückwandanzugs auch von den übrigen stabile Überhänge mit langen starken Bindern möglich sind. Hier ist der Überhang 1,5 Meter bei einer Mauerhöhe von 4 Metern. Die 100 Meter lange Mauer mit dem gezeigten imposanten Mauerkopf wurde Dimensionen der Stützmauer und von den Bedingungen auf der Baustelle ab. Bei 1860 gebaut, vermutlich zum Schutz eines früheren Gleises vor Steinschlag (vgl. Adcock in DSWA 2010). einer niedrigen Stützmauer in einem gewachsenen bindigen Boden kann vor dem Bau eine beliebig steile Böschung abgestochen werden und die Mauer bis zu dies- er reichen. Bei einem Gelände, welches neu aufgeschüttet worden ist, wird die Stützmauern ohne Anzug, also mit vertikalen Sichtflächen, werden dann gebaut, Böschung jedoch bis zu 45 Grad betragen, und der Mauerkörper kann nicht bis wenn die Terrassennutzfläche möglichst groß sein soll. Reddi (1982) geht diesbez- dorthin reichen. In diesem Fall, und auch wenn das Gelände erst nach dem Bau der üglich von massiven Ersparnissen beim Bau von Stützmauern für Bergstraßen aus. Mauer angelegt wird, kann eine zunächst freistehende Stützmauer gebaut werden. Je steiler das Gelände, desto größer die Ersparnis. Auch bei Tufnell (vgl. SUS 2002) In den meisten Fällen wird jedoch der Zwischenraum zwischen Rückwand und finden sich Beispiele und Empfehlungen für mögliche vertikale Sichtflächen, wenn Böschung während des Baus schichtweise aufgefüllt. Hier kann der Rückwan- die Qualität des Mauerwerks einwandfrei ist. danzug beliebig gewählt werden, jedoch entsteht dabei nicht immer eine scharfe Sogar überhängende Mauern sind möglich, sie benötigen aber besonders viel Stein Grenze, sondern zuweilen ein allmählicher Übergang zwischen Mauerkörper und genügend lange Binder. Diese Bauweise sieht man nur bei Kunstobjekten oder und Boden. Definitionsgemäß ist die Hintermauerung ein Teil des Mauerkörpers, bei ganz speziellen Objekten wie bei der Schutzmauer von Cwmystradllyn in Wales. während die Hinterfüllung aus geschüttetem Material als Boden gilt.

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By Ingrid Schegk A unique source of knowledge DRY STONE WALLING IS GENTLE CONSTRUCTION

A dry stone wall is a wall built from (natural) stones. The stones are laid without using cement or mortar, and on dry stone walling that so are bonded dry, placed by hand.

The technique for building wall structures and boundary walls without binding mortar is an ancient craft that has proven itself over the centuries. It developed primarily in rural environments where the technical and logistical opportunities of large cities were not available. Boundary walls emerged here between plots of combines cultural history with pasture land, as did retaining walls for terracing vineyards and orchards, and also buildings and various other accompanying structures made of dry stone. This rural building culture always followed tenets that are considered sustainable today. The work was done by hand using simple, minimally burdensome technical aids. The structures were built exclusively from rock and stone available locally, such as erratic blocks and field stones, gathered from the pastures or the land being built on. a practical manual for their The walls in these areas often developed rather gradually over lengthy periods of time. Nevertheless, profound knowledge of the location, the stone and the building technique was necessary to build permanent and stable structures. Experience gained during the building process could be incorporated directly. On many steep slopes, technically sophisticated walls of considerable height were erected with additional elements such as steps, arches or irrigation and drainage systems. How- ever, these were always comparatively gentle intrusions on the natural landscape. construction and maintenance, As a synthesis between nature and technology, dry stone walls represent an inter- action with their surroundings. In principal they are permeable to water and are flexible to a certain degree, as regards soil settlement and expansion with frost. They are populated by plants and animals which adopt the wall as a replacement for lost natural habitats. Dry stone walling connects between nature, via the cultural landscape, right through to sustainable construction. The special characteristics of the craft, shaped and a guide to the plants and by a long tradition, are forward-looking and likewise very contemporary: on the one hand, against the backdrop of climate change and its consequences, and, on the other hand, in view of the loss of structures, the disappearing space for dwellings and the loss of biodiversity in the agricultural landscape. Stone, landscape and building cul- ture meet in dry stone walls. Combe des Amburnex, Parc Jura Vaudois animals inhabiting them

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STONES SWITCH SIDES

As in plant sciences and botany, where the Latin names of the plants sometimes change based on new knowledge in plant systematics, natural rocks also some- times switch sides. This explains how a paragneiss in the southern Grisons became an orthogneiss just a few years ago on account of the most up-to-date geological research results. The famous polygon-shaped cobbles on the Roman Via Appia Antica, the basoli, and likewise the sampietrini*, the square cobblestones in the streets of Rome are not comprised of basalt or Vesuvianite as described in many books. Instead, they are melilith leucitites or melilithic leucitites, a volcanic rock from the Alban Hills, according to more recent knowledge from geological research. It is difficult to believe that the stones in the Eternal City, which were already being walked upon so many New and old: a vineyard wall repaired using the same type of stones as before centuries ago, could not be exactly researched regarding their composition and petrographic attributes until modern times. The Romans have called their street paving selce for a very long time referring both to the volcanic material as well as the cobbles.32 Appearance and Reality

It is often difficult to properly identify natural stones supplied under their trade * The cobblestones used by the Romans since the sixteenth century are called sanpietrini or sampietrini names. Many common natural stones are even described by suppliers in wrong because this type of cobblestones was first laid in St. Peter’s Square in front of St. Peter’s Basilica (San Pietro) during the reign of Pope Sixtus V in 1585. Pope Clemens VII had numerous streets paved with geological terms, be it through tradition, through lack of knowledge or for marketing this stone in the eighteenth century. purposes. Whether they are metamorphic or not, this often does not play a role in their name. And so it occurs time and again that a limestone from Jura is listed as Jura marble, although geologically it is not marble but a sedimentary stone. And limestone breccia is actually concealed behind the name Arzo marble. One calls gneisses Andeer granite or Maggia granite. Sometimes these are also called – not geologically correct although rather descriptive – split granite.29 Irregularities can also arise in the translation of rock terminology: in Italian, graniti describes all hard, polishable natural stones, including gneiss or quartzite. The expression marmi is a byword for everything else or is commonly used for all the more precious natu- ral stones. And there is hardly another country which operates as many quarries and builds as much using natural stone as Italy.30 Furthermore, many natural rock terms31 have been changed or specified through new knowledge gained from geology and petrography. In the building trade, the old terms will still be in use for a long time such as the term porphyry. The European Standard EN 12440 Natural Stone Criteria for Terminology attempts to create some order here. It lists the trade name, the scientific name of the rock family, the typical colour and the place of origin in each case for over 2,500 natural stones from 21 European countries. Over 50 rocks are recorded in Switzer- land. Spain leads the list of countries particularly rich in rocks with over 450 types, followed by France and Great Britain with over 300 each, Italy with about 300, Germany and Portugal each with nearly 200 and Greece and Finland with a good 100 types each. Sampietrini, the cobblestone of the Roman streets, consisting of melilite leucitite

56 57 Edited by the Swiss Environmental A uniquely comprehensive source Action Foundation on all aspects of dry stone walls

Hardback Combines cultural history with a 472 pages, 365 color and guide to plants and animals for 179 b/w illustrations which dry stone walls provide a 20 × 29.5 cm (7¾ × 11½ in) habitat 978-3-85881-813-3 English CHF 110.00 | EUR 97.00 Offers a practical step-by-step GBP 85.00 | USD 95.00 building manual, covering planning ARCHITECTURE / LANDSCAPE and building as well as restoration of dry stone walls

DECEMBER 2018 (Europe) Richly illustrated with photographs FEBRUARY 2019 (US) and newly commissioned drawings

Dry Stone Walls Fundamentals, Construction Guidelines, Significance

Dry stone walls are a critical component of the landscape in Switzerland as well as in many other countries. They support the cultivation of agriculture and livestock and are an integral part of the ecosystem. In many places, they are in need of restoration by those with a thorough understanding of their functions and their multitude of types and purposes. Drawing on the copious research and practice of the Swiss Environmental Action Foundation, Dry Stone Walls is a uniquely comprehensive work on the topic, combin- ing cultural history with a guide to plants and animals that inhabit these structures, as well as a practical step-by-step manual to the building and maintenance of dry stone walls. Richly illustrated with some 540 photographs and drawings, many of them in color, the book contains a wealth of background knowledge for both the planning of new dry stone walls and the preservation of existing ones, as well as information on structural analysis and the organization of building sites. The book will serve as a guide for future generations to this ancient practice that is in danger of extinction.

Swiss Environmental Action Foundation, founded in 1976, is dedicated to the conservation and preservation of Swiss nature and landscapes.

N ew titles 2018–2019 9 Fig. 17 Paris, 1927, Left to right: August and Frieda Klipstein, Yvonne Gallis, Fig. 11 Jeanneret riding a horse at Shipka Pass, June 28, 1911 Fig. 12 Le Corbusier’s note from December 1962, referring to 2 drawings of Kazanlŭk Pierre Jeanneret and Le Corbusier. Private collection. (photo attributed to Klipstein). FLC L5(1) 165 “being copies by Klipstein from his own drawings” (see Figs. 13a–13d). FLC E2(6) 243-002

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 August Klipstein and Le Corbusier’s Journey to the East, 1911  1 Orient Reise [Eastern Journey] 1911 by August Klipstein 1

Fig. 14a Kazanlŭk. Baroque house, Turkish influence (from Tagebuch, p. 21) Fig. 14b The same house by Jeanneret from a slightly different angle, and with more detail.

coming and going shake hands; hardly a word is spoken and a great calm reigns. In the taverns, the host strikes the matches and hands them to A new study on Le Corbusier’s the customers, along with cigarettes. Rooms with refreshments: lemons, apricots, carob beans, apples, strawberries, and cherry juice. An overall look at Adrianople: a view from the railroad tracks across the meadows, the alderbush on the Sultan Selim Mosque. There weren’t the usual narrow alleys of the East here. Little shanties, tradesmen, very picturesque street corners. We eat 1911 Journey to the East, with some artisans.49 Grapevines. Finally, the mosque. Swarms of cats, dogs. The people constantly make fun with each other and make a pleasing impression. Small cafés with fountains, grapevines, and well kept up little gardens. The walls of the Sultan Selim can still be climbed only with police permission. (figs. 15, 17, and 18) offering for the first time ever The Sultan Selim Mosque in Adrianople. In the outer courtyards of the church there are mostly soldiers. They’ve spread out their tents 14a inside and completely settled in there. If you sit for a moment there, you’re immediately surrounded by a whole bunch of them, and they look at you as if you’re some strange animal and they all have a lot of time to watch you. They drill occasionally in the outer courtyards, but otherwise the perspective of his friend don’t do much. In the last days of our trip a lot of things went wrong. The colos- sal flooding in Macedonia and Bulgaria, caused by the tundra and the Maritsa, which are a terrible misfortune for Bulgaria and Turkey, held us up a few days, too. When we left Kazanlŭk at three in the morning in the mail wagon, a miserable old and uncovered vehicle, we had to proceed on the river bed, because the road had collapsed in places.50 The water came and travel companion August all the way up to our seats and we felt like we were in a ship being tossed around. To this day, I’m amazed

that we didn’t capsize. In [p. 10e] Simeonovgrad, a small stop on the Orient Express line, we had to wait 18 hours for a train, since the bridge was still out. Our arrival in Adrianople 14a was no less arduous. The three kilometer long road, which connects the Klipstein (1885–1951) railroad station with the city, was an absolute river bed some 50 centime- ters deep.

11 Orient Reise [Eastern Journey] 1911 by August Klipstein 111

Fig. 23 Kariye mosque (from Tagebuch, p. 31). Fig. 37a Hagia Sophia by Klipstein (top) and Jeanneret (bottom). Fig. 37b The bottom image is marked by its author, “d’après Klip,” meaning a copy from Klipstein. FLC 1941.

Sophia itself. The construction was carried out from 532 until 537 by the master builders Anthemius of Tralles and Isidorus of Miletus. The cupola collapsed during the 560s and was rebuilt. The new cupola is constructed from stone ribs. The transitions to a quadratic ground plan were achieved by spherical spandrels. The former atrium is missing today. In the Hagia Sophia the central structure and the main aisle are joined together in the most splendid way. Still, the aisle predominates and is quite detrimental to the harmony of the cupola, whose sides appear squeezed in. With this construction the architectural activity of the Justinian period in Constan- tinople seems to have ended. The high point of the development of the central structure does not come until the sixteenth century, under the Turks, who hadn’t been familiar with the central structure in this form. All their mosque construction goes back to the Hagia Sophia model. It was, in particular, the builder Sinan who put the finishing touches on the central buildings around the middle of the 37a sixteenth16th century. The further development of the central building that was carried out under the Turks can be seen in the following ground plan of Sultan Ahmet. (figs. 37a, 37b, 38a, 38b, and 39) The Çinili kösk86: Architecture that is completely out of the ordi- nary. Perhaps Selçuk influence; the thing has the style, but other similar- ities would have to be discovered.87

[p. 21] The Kariye Mosque III: Two narthexes. The mosaics are considerably brighter and better preserved. The length of the figures stands out. The mosaic material is very fine, compared with those in Ravenna. The execu- tion of the borders. The use of architecture to emphasize the main forms; for example, Mary before the Kings.88 The pictures around the cupola emphasize the architectural organism in their composition as well; for example, emphasis of the corners through forms, with their heads in the center pointing to the apex. The same thing with the ribs, which support the arch.—The groupings taken as a whole often remind you of Masalogio [sic].89 The mosaics in the narthex are significantly brighter and better

preserved. The gold background is very dark. The depictions very rich in 37b motifs of motion. (figs. 40, 41a, and 41b)

1 Orient Reise [Eastern Journey] 1911 by August Klipstein 19 1 Orient Reise [Eastern Journey] 1911 by August Klipstein 1

Fig. 15 “A useful journey,” early sketch by Le Corbusier of Journey to the East dividing Fig. 49 Karakallou Monastery. Postcard purchased by Jeanneret-Klipstein, 1911. FLC L5(4)115 Fig. 51a Karakallou Monastery, plan from Le Corbusier carnet #3, p. 59. (left) Fig. 14 Amedée Ozenfant, Albert Jeanneret and Charles-Edouard Jeanneret, 1919. FLC L3(16)15-25 Europe of 1911 into 3 categories: Industry, High Culture, and Folklore. FLC B2(14) 237 Fig. 50 Karakallou Monastery, sections (from Tagebuch, p. 73) Fig. 51b Karakallou Monastery, photograph FLC L4(19)82

apparently in response to a question from a friend who had closely followed the themes of the book’s chapters in L’Esprit Nouveau. “Confes- sion” was a pretext for providing his public with an autobiography, and in it Jeanneret dealt with his past, his education, training and formative experiences. Still a young man, he was already mythologizing the phases of his life. “Confession” included sketches from his 1911 journey, as well as a hand-drawn map of the itinerary he had traveled over past years. Le Corbusier divided the map of Europe into three different categories, labeling various regions “c” for Culture, “f” for folklore, and “i” for indus- try, together with a caption that read “A useful journey.”70 (fig. 15) Jeanneret made one last attempt to publish all his chapters as a unified book, with additional notes and chapters. An entry in the published edition of Après le Cubisme in 1918 advertised a new collection of his writings to be known as Les Commentaires sur l’Art et la Vie moderne. (fig. 16) 49 Also promoted were “Vers une Architecture in press” and several other titles, among them “L’Art Decoratif Actuel” (an illustrated volume) and Tilleul et Camomille [Linden and Camomille]. The latter was none

51b

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1 Orient Reise [Eastern Journey] 1911 by August Klipstein 1  Le Voyage d’Orient: the Backstory of Le Corbusier’s Parallel Journey 1 By Ivan Žaknic´ A unique companion to Le Corbus- With an introduction by ier’s classic Journey to the East Tim Benton Sheds new light on lesser-known Hardback facets of the very young Charles-E- approx. 268 pages, 130 color douard Jeanneret, later Le Corbus- and 20 b/w illustrations ier 15.5 × 24.5 cm (6 × 9¾ in) 978-3-85881-817-1 English Features for the first time August CHF 49.00 | EUR 48.00 Klipstein’s entire account of the GBP 45.00 | USD 55.00 journey with Le Corbusier as well ARCHITECTURE / ART as excerpts from their correspon- dence

APRIL 2019 (Europe) Richly illustrated with both men’s JUNE 2019 (US) drawings, watercolors, and photo- graphs

Klip and Corb on the Road The Dual Diaries and Legacies of August Klipstein and Le Corbusier on their Eastern Journey, 1911

In 1911, Le Corbusier (1887–1965) and his friend August Klipstein (1885–1951), a scholar of art history and later renowned art dealer, undertook a grand tour of Eastern Europe, the Balkans, Turkey, and Italy. While Klipstein’s interests were more focused on research for his doctoral thesis, Le Corbusier’s impressions were more immediate, his mindset more romantic. They both kept a diary of their journey and produced many sketches, drawings, watercolors, and photographs en route, sometimes captur- ing the same motif and even copying each other’s work. While Le Corbusier’s record was published in 1966 as Journey to the East and has become a classic, Klipstein’s testimony of the expedition remained largely unknown until today. In this new book, Ivan Žaknic´ explores the creative symbiosis of this friendship and what the two ambitious young men brought back from their trip. Richly illustrated, including the complete text of Klipstein’s diary, and also featuring excerpts from the little-known correspondence between Le Corbusier and Klipstein, the book offers an entirely new perspective of this seemingly well-known undertaking. It introduces the personality of Klipstein as well as lesser-known facets of a very young Le Corbusier.

Ivan Žaknic´ is professor emeritus of architecture and art at Lehigh University in Bethlehem, PA. He has published several books on Le Corbusier, exploring, in particular, the early and late periods of the architect’s work.

Tim Benton is a British scholar, writer, and broadcaster and has written extensively on Le Corbusier.

N ew titles 2018–2019 11 Als Sigfried Giedion im Herbst 1913 zum Kunstgeschichtsstudium nach München wechselte, war das Schwabing der Belle Epoque bereits eine Legende, während eine neue Generation noch tief Luft holte, um sich später in Zürich, Berlin, Weimar und Paris lautstark bemerkbar zu machen. So lebten die Protagonisten der Avantgarde vorerst unbemerkt nebenan: Paul Klee wohnte wenige Häuserblocks von Giedions Wohnung an der Ainmillerstr. 32, Hugo Ball logierte bis 1915 in Schwabing, Emmy Hennings tanzte in der Bar um die Ecke, Kandinsky verliess die Stadt im August 1914. Giedion pflegte Umgang mit dem Kreis um Rolf von Hoer- schel mann oder dem um die Puppenkünstlerin Lotte Pritzel, hielt aber meist Distanz zur Münchner Kaffeehaus- und Kneipen bohème. Er fühlte sich der Wandervogelbewegung ver- bunden, entfloh der Stadt zum Segeln auf dem «wagnerisch» aufgewühlten Starnberger See oder zum Klettern in den Bayerischen Alpen und logierte zeitweise im ländlichen Seeshaupt.1 Kontakt suchte Giedion zu akademischen Mentoren wie dem Germanisten Fritz Strich, dem Theaterwissenschaftler Artur Kutscher und dem Kunsthistoriker Heinrich Wölfflin. Mit ihm traf er sich zum Spaziergang durch die Dachauer Künstlerkolonie2 oder in seiner handver- lesenen Mittwochsrunde – mit von der Partie war als einzige Frau: Carola Welcker. Sie wech- selte für das Sommersemester 1915 von Bonn nach München. Anders als der zwischen freier Schriftstellerei und Akademie schwankende Giedion verfolgte Carola Welcker ihr Studium zielgerichtet und entschied sich früh für die bayerische Barockskulptur als Dissertationsthema. A B F G Wölfflin wird daran seinen Anteil gehabt haben, womöglich auch Erika Tietze-Conrat, eine Spezialistin für österreichische Barock plastik und die erste promovierte Kunsthistorikerin im deutschen Sprachraum. Sie mag Carola Giedion-Welcker auch zur Beibehaltung ihres 3 Mädchen namens inspiriert haben. Forschungsgelände war das erweiterte Münchner Umland, A B dessen Kirchenplastik sie, zuweilen in Begleitung von Giedion, mit dem Fahrrad besuchte und fotografierte. Im geistigen Münchner Umland zu lokalisieren ist auch Carola Giedion- Welckers anhaltendes Interesse für die Schriften von Johann Jakob Bachofen. Die Matriarchats- und Symboltheorien des Basler Altertumsforschers aus der Mitte des 19. Jahrhunderts fanden erneute Aufmerksamkeit im Kreis der Kosmiker um Stefan George und diffundierten ins intellektuelle Münchner Milieu, wo sie neben anderen auch Thomas Mann erreichten. Krieg und Revolutionswirren legten die Basis für die Politisierung der beiden Studenten. Anfäng- liche Kriegsbegeisterung schlug rasch um in Ratlosigkeit und das Bedürfnis nach neuer Orien- tierung: «Wir waren uns klar. Was da ist, ist die Leiche einer Zeit».4 Giedion wurde Mitglied im Block aufbauender Studierender, der nicht weniger als eine «Neuordnung des gesamten Erziehungswesens» forderte.5 Er begeisterte sich für Erich Mühsam und den Reformpädagogen Gustav Wyneken – Max Weber, der den politischen Umwälzungen skeptisch gegenüberstand, klassierte er als eitlen Sophisten.6 Nach den Morden an Rosa Luxemburg, Karl Liebknecht und Kurt Eisner und der Niederschlagung der Münchner Räterepublik schwand seine Hoffnung H I auf grundlegende Veränderungen: «An allen Ecken tauchten die Noskeaner auf, selbst blinde Werkzeuge, Quartiermacher der früheren. Die Spartakisten hatten als Wegbereiter Gesindel C u diese hier, alle jene, die Deutschland verhasst gemacht und in das geritten hatten. – Was für C eine Wahl! […] Sind wir’s noch? Es ist alles so schattenhaft geworden!» Der drängende Wunsch der Giedions, München zu verlassen, konkretisierte sich vorerst in zahlreichen Reisen – während des Hitlerputschs im November 1923 weilten sie auf Capri –, im Frühling 1925 übersiedelten sie jedoch ins schweizerische Kilchberg. ML

1 Vgl. Tagebuch S. Giedion, 3 Über den Austausch von 5 Programmschrift des Blocks 15.9.1915, 19.9.1915, 29.1.1918, Fotos mit «Frau Tietze», vgl. Brief aufbauender Studierender, um 2.6.1918, 18.5.1921. von C. Giedion-Welcker an 1919. Als Mitunterzeichner finden S. Giedion, 19.3.1919, siehe S. xx. sich unter anderem Franz Roh, 2 Vgl. Tagebuch S. Giedion, Hans Curjel und Hans Finsler. 5.8.1915. 4 Tagebuch S. Giedion, 20.7.1918. 6 Vgl. Tagebuch S. Giedion, 7.11.1918.

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Szenen im Garten: entweder in der Münchner A, B Carola Giedion-Welcker und Sigfried E Rudolf Grossmann, Sigfried Giedion, A Café oberhalb der Donau in B Die Kommilitonen Walter D Hilde Posse, unbekannte E Eine studentische Runde in Auf der Brücke in Neuburg an der F Hilde Posse, Walter Foitzick, H Unbekannte Person, Sigfried J Die ganze Gruppe kauft Kaiserstrasse 23, wo Giedions nach ihrer Giedion. Fotograf unbekannt, um 1922 Bleistiftzeichnung, 16,2 × 9,1 cm, datiert der Nähe des Jagdschlosses Foitzick und Georg Pfleiderer mit Person, Carola Welcker. Foto: München Donau. Gegenseitig fotografiert, zwei unbekannte Personen, Georg Giedion, Carola Welcker Kirschen Hochzeit bis 1922 leben, oder im Garten des 17.12.1917 Grünau bei Neuburg (um 1530). In Carola Welcker, Foto: vermutlich vermutlich Sigfried Giedion, um um 1918 Pfleiderer, Carola Welcker C Else Speck, Carola Giedion-Welcker, Paul Unbekannte Person, Georg I Hilde Posse, Georg Pfleiderer, K Hilde Posse, unbekannte gemeinsam mit dem Bildhauer Paul Speck der Mitte hinten Carola Welcker. Sigfried Giedion, um 1918 1918 Speck, Elsbeth Posse. Foto: vermutlich Sigfried Über seine Professoren in München, Heinrich Pfleiderer, Hilde Posse, Walter G Hilde Posse, Carola Welcker, Carola Welcker Person, Sigfried Giedion, Carola und seiner Frau Else erworbenen Hauses in Foto: vermutlich Sigfried Giedion, Giedion, um 1922 Wölfflin und den später im Ersten Weltkrieg C Rechts Hilde Posse und ihr Foitzick, Carola Welcker, Sigfried unbekannte Person, Sigfried Welcker der Viktoriastrasse 3, das sie ab 1922 bis zu um 1918 gefallenen Fritz Burger, äussert sich Sigfried zukünftiger Mann, der Arzt Giedion, unbekannte Person. Giedion, unbekannte Person ihrem Umzug 1925 in die Schweiz bewohnen. D Else und Paul Speck, Sigfried Giedion und Giedion bereits am 17. November 1913 begeistert Wilhelm Horn, in einer Münchner Fotograf unbekannt, um 1918 Elsbeth Posse. Foto: vermutlich Carola Giedion- in seinem Tagebuch: «Das Leben hier ist so Wohnung. Fotograf unbekannt, Welcker, um 1922 schön, denn ich lerne jeden Tag unheimlich zu. um 1918 22 Münchner Bohème 23 Burger, Wölfflin.» 18 19

30th Nov. 1919. st Zurich, 3rd Dec. 19 Kauert until the next 1 Dec. 1919 Yesterday I was sitting (by fast train at ¾ 10 in the Dear C. W., In Koblenz I saw the castle and D. C. W., S. G. is in be ­ evening105 (Herta Kauert then had to stand all the way to Mainz, just 97 chance) in the visitors’ box tween empires. His own was great) and S. G. as I had had to stand all the way to Koblenz. In a fast train near Offenburg 100 is still up in the air.101 His will welcome you an hour But I got into a conversation with a gentle­ at the theater (sold out). other half is in Cologne, later at the Badischer man who used to travel regularly to Zermatt dabbing away her tears Bahnhof!106 Telegraph and was the first to make the descent from Experience: I wonder if C. W. would have with her handkerchief.102 me at Postunen to tell me Monte Rosa to the south. From Mainz to Perhaps now she will felt what I did? Undoubtedly which day it is to be. I will Frankfurt it was easier. Be sure to depart from collect herself; perhaps, If you want to find a seat, which need to leave Postunen Deutz and get yourself a direct ticket to Basel. being so far away, that clever, powerful even, but only in the late afternoon. I caught up on sleep and was glad not to half of the empire has is worst of all in Frankfurt, Dear C. W. just be sure have a train to catch, because at the Liebig­ learned that with good with a musty smell to it like to tell me your exact haus I marveled not only at what was there, you have to get into position will, it must annex itself route!—I arrived here just but also at the extraordinary manner of the one that hangs over cer- to the other and that only in time for some impor­ its presentation.93 I bought a lot of photos about a carriage- length strings resonate at the tant meetings.107 for S. G. and C. W. tain Rembrandt paintings; same pitch. outside the roofed-over part There are 50 francs for Quite by chance I got a ticket for a work by then I realized why Rembr. I have only the one wish: C. W. at Curjel’s. If you Arnold Zweig that is playing tonight.94 Will of the station. I myself was finally, finally to be undis­ see any glasses, engrav­ continue my journey tomorrow. It feels so so often got stuck in the Old turbed! Our dear boy103 B ings etc. bring them good to be breathing in air that has not been standing too far to the front is to get his doctorate in along! S. G. is on his way violently peppered even before it so much Testament. The old one may eight or ten days’ time! and with my second- class to Postunen. Cyrill says as leaves the nose!—I’ve been thinking about I’ve looked on enviously have the better narratives, hello.108 He’s more why it turned out the way it did in Cologne: as the world goes on ticket am now happily seated beautiful than ever in his It is because all the trivial things in life are unperturbed, and how but the new one is the warmer winter coat! And of 75 transacted with a fanaticism that blocks the objectively speaking, on a hard third-class seat. dogs has the noblest gait! way for what is truly important.95 Everything of the two, which is why we nothing stands still, no He has endeared him­ changes the moment you get a whiff of matter how much we self utterly to S. G. and fresh air!—I want my C. W., not the C. W. of Thank you for the provisions, feel closer to it. lose ourselves in our knows that he must now recent weeks, for that would be sad and families. Postunen awaits be nicer to him than ever. and and and is but a poor C. W.! though I’ve eaten up the you! S. G. awaits you! And what is C. W. doing among S. G. And a lot of good will I beg you: last of the rolls from Cologne. C the old folks? Has the pater- on both sides!—I want 1) Do not raise anything political with either There’s nothing here; but a C. W. who can finally your brother or any other relatives. nal shell begun to crack, now understand things with plenty to take along, espe- the heart again. And 2) If you go to Bonn, ask if they have any that I have happily made my there are goals! The other photos of the interiors (Koblenz, Aachen), and cially fruit. C. W. makes it sad and in the seminar think about which books we exit—at last? Has C. W.’s con- difficult! might still have to order.96 Everyone here says there is science at last been assuaged Let me repeat: I demand 3) Order a copy of the magazine die Kritik th at all costs that Miss and Die schlafenden Bäume by Kreidolf to be a stoppage from 15 and will it remain so? S. G. Steinmetz travel with you. published by Schaffsteinverlag. th rd 98 I shall happily bear the 4) Should you find a glass or a cup some­ or 18 Dec until 3 January. costs of her journeys where, bring it with you. from and to Frankfurt.104 I would be furious, and Above all take care of yourself and think, Be sure to take someone with would take it personally sometimes, of your S. G. you to Frankfurt. Armin Stein- as negligence toward me if Miss Steinmetz metz should get you installed. did not come too!—My advice is that you depart Under no circumstances Frankfurt at 726 (the should you travel alone.99 departure from Frankfurt is the most unpleasant part of the whole trip), stay with Curjel and Herta

November 30, 1919 93 The Städtische Galerie December 1, 1919 97 S. Giedion was traveling 100 Arnold Zweig’s tragedy December 3, 1919 101 S. Giedion had yet to decide Liebighaus, a sculpture from Cologne to Switzerland via Die Sendung Semaels was playing whether he wanted to pursue a Letter from Sigfried Letter from Sigfried Giedion, Letter from Sigfried Giedion, museum in Frankfurt am Frankfurt am Main. at the Schauspielhaus Frankfurt, career as a writer or as a historian Giedion, Frankfurt am Hertenstein, to Carola Hertenstein, to Carola Main. cf. note 94. of art and architecture. Main, to Carola Giedion- Giedion-Welcker, Cologne 98 There had already been one Giedion-Welcker, Cologne Welcker, Cologne 94 Probably Arnold such stoppage in November 1919, 102 C. Giedion-Welcker was Zweig’s tragedy Ritualmord when to alleviate the backlog of mourning her mother, cf. note 99. in Ungarn [Ritual Murder coal and potato deliveries the 103 The reference could be to one in Hungary] (1913), which government of the German Reich A of their art historian friends, premiered in Germany suspended all passenger services. possibly Hans Curjel or Franz Roh. as Die Sendung Semaels in 99 C. Giedion-Welcker’s return the autumn of 1919. 104 C. Giedion-Welcker’s return journey to Switzerland, probably D journey, probably from her mother’s 95 Possibly an allusion to following the funeral of her mother, funeral. the political differences who died on November 14, 1919. between C. Giedion- Welcker 105 9.45 pm. and her family or the dis- 106 Badischer Bahnhof in Basel. cussions surrounding her A László Moholy- B Ernst Posse and László Moholy- Nagy in Munich. Unknown D Letter from László Moholy- Nagy to Carola Giedion- Welcker and marriage to S. Giedion. 107 Negotiations with S. Giedion’s Nagy invited the Giedions to spend the summer of Letter from László Moholy- photographer, ca. 1925 Sigfried Giedion, July 26, 1925 “I would also like to make the acquaintance of Mr. S. Giedion, which uncle, Louis Jakobi, and brother- in- 1925 with him and his wife in Brittany. Nagy to Carola Giedion- 96 C. Welcker studied first is sure to be a pleasure if he is anything like his family. We intend C Hilde Horn in Munich. Unknown photographer, ca. 1925 “The timing is perfect. We’re already firmly ensconced here in Brittany, law, Kurt Liedemann, concerning Welcker, July 8, 1925 in Bonn (1911–1914) and to travel to Belle Ile en mer on the west coast of France this summer. on Belle Isle en mer (Brittany), address: Hotel du Port Donnant and for the future of his father’s textile transferred to Munich only Perhaps we’ll make it to Zurich on our return journey, or just me full board are paying about 25 frs per person per day. (Possibly as little business based in Zug and Vienna, in the summer semester alone. It’s all feverish activity at present. Top speed. The first series as 22 or 23 frs—we’ve been here only since yesterday). For that we cf. Diary S. Giedion, December 8, of 1915. of Bauhaus books is due out. Then there’s the workshop work. The have a view of the sea. Wonderful. Waves, spume, cliffs, sand, the wild 1919. extension, new building, timbering. All of it currently in the throes of west—what more could you want.” 108 On Cyrill, cf. note 32. organization, but advancing fast.” 60 61 64 65

The Giedion World: the work,

A heritage, and archive of a uniquely productive and influential scholarly couple

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A Oskar Stonorov visited the Giedions in Davos in early 1929. His “This morning I breakfasted with Dr. Giedion. Steiger and his wife B, C The friends met again at the Kunsthaus’s masked ball at the Hotel book co-authored with Willy Boesiger, Le Corbusier. Pierre Jeanneret. turned up at the café and we expanded on our favorite subject: the Baur au Lac in Zurich on February 2, 1929. Back row: Marcel Breuer, Ihr gesamtes Werk von 1910–1929, was to be published by Hans men of international architecture, their suitability as collectivists, Elsa Girsberger, Oscar Stonorov, Elsa Burkhardt-Blum, Willy Boesiger, Girsberger a year later. Back in Zurich, he wrote a note of thanks to or Lurçat and Corbusier… The next congress and arena for the lions Grete Hubacher, Sigfried Giedion. Front row: Rudolf Steiger, Carola Carola Giedion- Welcker dated January 19, 1929: of concrete…” Giedion- Welcker, Carl Hubacher, Flora Steiger-Crawford. Unknown photographer

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A B C DEF G HI J K L MA BC D EFG HIJKL M N

S. 4 Library of the gta D Photographie, Paris: H Jean Labatut, The J George Thomson, The Cambridge: Technology S. 5 Zurich James Joyce D Wyndham Lewis, The G James Joyce, Dublin J Le Navire d’Argent, ed. M James Joyce, Stephen Archives / ETH Zurich Arts et Métiers Universities’ Position with Foreseeable Future, Press of the Massachusetts Foundation Apes of God, London: The – Novellen, deutsch von Adrienne Monnier, Paris: Daedalus, deutsch von Graphiques, 1931. Regard to the Visual Arts, Cambridge: Cambridge Institute of Technology, Arthur Press, 1930. No. Georg Goyert, Basel: La Maison des Amis des Georg Goyert, Pfullingen: A Lewis Mumford, The A Transition, ed. Eugene analyzed by Jean Labatut University Press, 1955. 1950. 266/750. Rhein-Verlag, n. d. (1928). Livres, 1925. Neske, 1958. Condition of Man, New E Sibyl Moholy- Nagy, Jolas, no. 10 (January F G at the Architectural York: Harcourt Brace & Moholy- Nagy. Experiment K Rudolf Carnap, Der M Amédée Ozenfant, 1928). E Pastimes of James H James Joyce, A Portrait K Les Lettres Nouvelles, N James Joyce, Ulysses, League of New York, June Co. , 1944. in Totality. A Biography, logische Aufbau der Welt, Art. Bilan des arts mod- Joyce, Maria Jolas and of the Artist as a Young ed. Maurice Nadeau, autorisierte deutsche 8, 1944, Princeton: The B Transition, ed. Eugene New York: Harper & Berlin: Weltkreis-Verlag, ernes en France. Structure Padraig Colum, texts, and Man, Leipzig: Bernhard (March-April 1966). Übersetzung von Georg B László Moholy- Nagy, Princeton University Jolas, no. 11 (February Brothers, 1950. 1928. d’un nouvel esprit, Paris: Jo Davidson, illus., New Tauchnitz, 1930. Goyert, Zurich: vision in motion, Chicago: Store, 1944. 1928). L Brüder Grimm, Irische A–H Die Badeszenen zeigen eine ausgelas- A, E Sigfried Giedion im H Sigfried Giedion im Rückwärtshechtsprung Budry, 1928. York: Joyce Memorial Rhein-Verlag, n. d. Paul Theobald, 1947. F Herbert Marshall L John Ely Burchard, I James Joyce, Dublin- Elfenmärchen, ed. sene, sommerliche Atmosphäre mit bisweilen Rückwärtshechtsprung I Edmund Carpenter, C Transition, ed. Eugene Fund Committee. 1941. McLuhan, The Mechanical Mid-Century. The Social ers, Hamburg/Paris/Milan: Johannes Rutz, Munich: akrobatischen Sprüngen ins Wasser. Fotograf C Changing New York. Marshall McLuhan, Jolas, no. 25 (Fall 1936). No. 82/100. D Käthe Achenbach und Sigfried Giedion. Bride. Folklore of Industrial Implications of Scientific The Albatross Verlag, R. Piper, 1913. unbekannt, August 1927 Photographs by Berenice Explorations in Communi- Foto: László Moholy-Nagy, August 1927 Man, New York: The Progress, verbatim account F Revue des deux mondes 1932. Abbott, text by Elizabeth cation. An Anthology, Vanguard Press, 1951. of the discussions held at (Paris), 15 August 1931. F, G Sigfried Giedion am Steg. Fotograf McCausland, New York: Beacon Hill: Beacon the Massachusetts Insti- unbekannt, August 1927 E. P. Dutton & Company, G John Gloag, Victorian Press, 1960. tute of Technology on the 1939. Comfort. A Social History occasion of its Mid-Cen- of Design from 1830–1900, tury Convocation, March London: Adam and 31, April 1 and 2, 1949, 156 157 236 Charles Black, 1961. 237 Edited by Almut Grunewald Sigfried Giedion and Carola Giedion-Welcker are among the Hardback most distinguished and influential approx. 384 pages, 292 color and scholars of modern art history 192 b/w illustrations 22 × 33 cm (8¾ × 13 in) This is the first-ever exploration 978-3-85881-819-5 English of their vast estate, offering a 978-3-85881-610-8 German revaluation of their work and legacy CHF 99.00 | EUR 97.0 0 GBP 85.00 | USD 99.00 Richly illustrated with previously ART HISTORY un ­published documents and images

DECEMBER 2018 (Europe) FEBRUARY 2019 (US)

The Giedion World Sigfried Giedion and Carola Giedion-Welcker in Dialogue

Sigfried Giedion (1888–1968) and Carola Giedion-Welcker (1893–1979) count among the most distinguished and influential scholars of art and architectural history during the first half of the twentieth century. Of particular impact was their role in establish- ing connections between leading protagonists of modernism in architecture, art, and literature. The discourses they initiated, for example on New Vision in photography or a “Synthesis of the Arts,” have retained their relevance to this day. The Giedion’s estate—kept in Zurich at ETH Zurich, the Swiss Institute for Art Research, the Uni- versity of Zurich, and the James Joyce Foundation—comprises some 16,000 letters, 10,000 photographic prints and negatives, a wealth of other papers, and a vast library. This new book provides a rediscovery of Sigfried and Carola Giedion-Welcker’s work, their lasting impact and legacy. The book’s editor and contributors were the first to be able to access the entire estate for their research. Featuring a vast number of previously unpublished documents and other images, alongside excerpts from the extensive cor- respondence the two maintained with their artist friends and colleagues in academia, it provides a unique and multifaceted insight into the “Giedion universe.”

Almut Grunewald is a scholar of art history, working as a research assistant at the archive of ETH Zurich’s Institute for the History and Theory of Architecture.

N ew titles 2018–2019 13 From the color slide series Modern Architecture I and II , 1943 1952: From Basin, Arizona, 1938–42 Water West, Taliesin Los Angeles, 1938 – Frank Lloyd Wright, Sturges Residence, Brentwood, Frank Lloyd Wright, the color slide series Modern Architecture I and II , 1943 1952: From Residence, Montecito, 1949 J. Neutra, Tremaine J. Neutra, Health House (Lovell Residence), Los Angeles, 1928 – Richard Richard John Porter Clark and Albert Frey, Frey Residence, Palm Springs, 1948 – Rudolph M. Schindler, John J. Buck Residence, North Hollywood, 1934 – Edward R. Lind, John J. Buck Residence, North Hollywood, 1934 – Edward Residence, Palm Springs, 1948 – Rudolph M. Schindler, Frey John Porter Clark and Albert Frey, Foster Residence, Sherman Oaks, Los Angeles, 1950 Douglas Kennedy Residence, Hollywood, 1939 – Julius R. Davidson, Drucker Apartments, Los Angeles, 1940 John Lautner, , 1943 and 1952: John Porter Clark and Albert Frey, Loewy Residence, Palm Springs, 1946 – the color slide series Modern Architecture I and II , 1943 1952: John Porter Clark Albert Frey, From Glen, Los Angeles, 1943 (designed 1936) J. Neutra, Plywood House, Brentwood J. Neutra, Miller Residence, Palm Springs, 1937 – Richard Richard

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Hammer-headed dock crane in the Blohm & Voss shipyard, Hamburg, 1929

Façade of the Deutschlandhaus, Hamburg, 1930

Façade of the Deutschlandhaus, Hamburg, 1930 Ship’s propeller at a floating dock in the Blohm & Voss shipyard, Hamburg, 1929

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The architect as photographer: also with a camera, Fritz Block was a staunch proponent

Fishermen at St. Pauli Fish Market, Hamburg, 1931 of modernism

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Aerialists, Hamburg, 1931

Aerialist clown, Hamburg, 1931

Triton tritonis (Triton’s Trumpet), longitudinal section, 1931 Triton tritonis (Triton’s Trumpet), X-ray, 1931

73 94 95 By Roland Jaeger The first monograph on Fritz Block’s photographic work Hardback 336 pages, 146 color and Features a wealth of previously 355 duotone illustrations unpublished material from 23.5 × 30 cm (9¼ × 11¾ in) Fritz Block’s estate 978-3-85881-789-1 English 978-3-85881-531-6 German Covers the entire range of Block’s CHF 99.00 | EUR 85.00 photography, reportages, object GBP 70.00 | USD 89.00 and architectural photography, PHOTOGRAPHY color slide series

AVAILABLE

Photo-Eye Fritz Block New Photography—Modern Color Slides

Architect Fritz Block (1889–1955) was one of the most dedicated proponents of Ger- many’s postwar New Building movement. Starting in 1929, he also used photography as a medium to express the impulse of modernism along with the ideals of New Objec- tivity and New Vision. Working as a photojournalist, he traveled to France and North Africa, as well as to the United States. Descending from a Jewish family, the Nazis in 1933 banned him from working as an architect in Germany as well as from publishing his photographs. He turned to photography entirely, going on extensive trips abroad, and in 1938 emigrated to America and settled in Los Angeles. There he took up the production of color slides for progressive art education. This characteristic part of his later work includes a particularly innovative series on California’s architectural modernism, which was widely distributed throughout the United States. This first-ever book to focus on Block’s work as a photographer features a vast range of images taken throughout his entire career. Vividly illustrated with some 500 photo- graphs, including many in full color and published here for the first time, Photo-Eye Fritz Block demonstrates his lasting influence on modern photography. A must-have for any photography collection.

Roland Jaeger is an art, architectural, and photo historian and a researcher, living and working in Hamburg and Berlin. He has published widely on twentieth-century art, architecture, and photography.

N ew titles 2018–2019 15 Edited by Mirjam Fischer and The authoritative monograph and Anna Niederhäuser catalogue raisonné of the furniture and interior designs of Swiss artists Paperback and designer duo Susi and Ueli 344 pages, 269 color and Berger 69 b/w illustrations 22 × 28 cm (8¾ × 11 in) Documents all of the Bergers’ 978-3-85881-615-3 designs through photographs and English / German reproductions of original drawings, CHF 65.00 | EUR 58.00 plans, and manufacturers’ promo- GBP 55.00 | USD 69.00 tion materials DESIGN / INTERIOR Susi and Ueli Berger have created th AVAILABLE (Europe) icons of 20 -century Swiss furniture FEBRUARY 2019 (US) design

Susi + Ueli Berger Furniture in Dialogue

Susi and Ueli They are the creators of Swiss design icons: The Soft Chair (1967), the Cloud Lamp Berger: creators of (1970), and the Stack of Drawers (1981). Over more than four decades, Susi and Ueli Berger’s work has always been guided by the credo that “only a new idea justifies a Swiss design icons new piece of furniture.” Clear contrasts between product design and object art, and a suitability for everyday use characterize their designs. A playful provocativeness and the combination of rationality and sensuality are additional hallmarks of the Bergers. Featuring a wealth of previously unpublished original drawings, plans, photographs, and promotion materials, as well as a catalogue raisonnée of Susi and Ueli Berger’s collaborative work along with an illustrated biography, this groundbreaking book offers the first-ever survey of their life and oeuvre.

Mirjam Fischer lives and works as an independent editor and books producer in Zurich.

Anna Niederhäuser is Head of Design Promotion at the Swiss Federal Office of Culture in Bern and also works as a freelance writer and curator.

N ew titles 2018–2019 16 Edited by Antonella Camarda Features a new photographic With an essay by Greg Foster-Rice installation by internationally and a conversation with the artist renowned artist Bettina Pousttchi by Hans Ulrich Obrist and Markus Miessen Pousttchi’s work at the intersection of sculpture, architecture, and In collaboration with Museo Nivola photography is widely recognized in Orani, Sardinia internationally

Paperback approx. 112 pages, 46 color and 7 b/w illustrations 16 × 22 cm (6¼ × 8 ½ in) 978-3-85881-826-3 English / Italian CHF 29.00 | EUR 29.00 GBP 25.00 | USD 29.00 ART

AVAILABLE (Europe) JULY 2019 (US)

Bettina Pousttchi Metropolitan Life

A Manhattan Since the late 2000s, German-Iranian artist Bettina Pousttchi has been creating works landmark at the at the intersection of sculpture, architecture, and photography. Her large-scale in- stallations investigate the history and memory of places, exploring the connections center of a new between time and space from a transnational perspective, and have gained her inter- installation by national recognition and praise. the acclaimed This book features Pousttchi’s new photographic installation at Nivola Museum in Orani on the Italian island of Sardinia. She chose the Metropolitan Life Building German-Iranian on 1 Madison Avenue in Manhattan as her subject for this piece. Criticized for its artist blatant Italian references at the time of its completion in 1909—and the world’s tallest structure until 1913—the building displays a hybrid identity, recalling cultural and temporal-spatial dislocations between the Old and the New World, Renaissance and Modernism. Published alongside the images of Metropolitan Life and other works by Pousttchi are an essay by art historian Greg Foster-Rice and a conversation between the artist, critic and curator Hans Ulrich Obrist and architect and writer Markus Miessen.

Antonella Camarda is a postdoc fellow for contemporary art history at the University of Sassari, Italy, and director of Nivola Museum in Orani, Sardinia.

N ew titles 2018–2019 17 Edited by Stella Rohlig and Features a new work by Austrian Axel Köhne sculptor and photographer Werner Feiersinger In cooperation with Belvedere 21. Museum of Contemporary Art, The Belvedere 21 building, the Vienna former Austrian pavilion at the 1958 Brussel World’s Fair, is an Paperback icon of the country’s postwar 108 pages, 57 color illustrations modernism in architecture 16,5 × 22 cm (6½ × 8¾ in) 978-3-85881-617-7 Exhibition: Belvedere 21, Vienna English / German (October 2018 until January 2019) CHF 29.00 | EUR 24.00 GBP 25.00 | USD 29.00 ART

AVAILABLE (Europe) JULY 2019 (US)

Werner Feiersinger. Overturn

Reformulating Austrian sculptor Werner Feiersinger combines in his work broad knowledge of de- space: Werner sign and architectural history with a laconic, minimalist formal vocabulary. Through an extensive sculptural intervention he reformulates the space of Belvedere 21—the Feiersinger’s new former Austrian pavilion for the 1958 Brussels World’s Fair that was transferred to intervention at Vienna—taking cues from the building’s history and architectural details. Belvedere 21 Feiersinger’s works undermine conventional modes of seeing and are infused with a deep irony. The intervention at Belvedere 21 projects an autonomous object quality in Vienna while dealing also with fundamental questions of sculpture. This book features Werner Feiersinger’s new work through images and reproductions of his design drawings, complemented by introductory essays and a conversation with the artist.

Stella Rohlig has been appointed Artistic Director and CEO of Vienna’s Belvedere in 2017.

Axel Köhne has been curator of 20th-centruy art at Belvedere in Vienna since 2012.

N ew titles 2018–2019 18 Edited by Storm Janse van New monograph on distinguished Rensburg African-American painter Jacob Lawrence In collaboration with SCAD Museum of Art, Savannah, GA Explores Lawrence’s work in dialogue with that of his contem- Hardback poraries, mentors, and historically approx. 176 pages, 100 color significant artists and 10 b/w illustrations 24 × 30 cm (9½ × 11¾ in) Highlights Lawrence’s influence 978-3-85881-825-6 English on artists living and working today CHF 65.00 | EUR 58.00 GBP 55.00 | USD 59.00 ART

FEBRUARY 2019 (Europe) APRIL 2019 (US)

Jacob Lawrence Lines of Influence

Jacob Lawrence’s Jacob Lawrence (1917–2000) is among the most distinguished twentieth-century work in dialogue American painters, widely known for his modernist depictions of everyday life, as well as the inventive narrative technique he employed to address African American history. with his contem- Published in collaboration with the SCAD Museum of Art in Savannah, Georgia, poraries and men- Jacob Lawrence: Lines of Influence explores the life, work, and legacy of Lawrence tors and its influ- not only as an artist but as an educator and chronicler of the mid-twentieth-century African American experience. The book is arranged in two parts. The first, Relations, ence on artists traces the interactions that shaped Lawrence’s personal and professional life. It living and working presents his work in dialogue with that of his contemporaries, mentors, and histori- today cally significant artists, such as Josef Albers, Richmond Barthé, Romare Bearden, José Clemente Orozco, George Grosz, Marsden Hartley, Gwendolyn Knight Lawrence, Horace Pippin, and Augusta Savage. The second, Legacy, explores Lawrence’s own influence on contemporary artists who share similar formal and conceptual strategies and includes commissioned works by artists influenced and inspired by Lawrence, such as Derrick Adams, Meleko Mokgosi, Barbara Earl Thomas, and Hank Willis Thomas.

Storm Janse van Rensburg is head curator of exhibitions at SCAD Museum of Art, Savannah, GA.

N ew titles 2018–2019 19 Edited and with an essay by Features fifty key works by this Michael Auping eminent American artist

Hardback New essay by distinguished cura- approx. 80 pages, 50 color tor and scholar Michael Auping illustrations 24 × 28 cm (9½ × 11 in) 978-3-85881-823-2 English CHF 39.00 | EUR 38.00 GBP 35.00 | USD 49.00 ART

MAY 2019 (Europe) JUNE 2019 (US)

Cosmic Theater The Art of Lee Mullican

Lee Mullican: the Lee Mullican (1919–98) was best known for his inimitable West Coast–inspired ex- Dynaton Move- plorations in abstraction, infused with mysticism and the transcendent. First exhibited as part of the pivotal exhibition of the Dynaton Group, which Mullican cofounded ment and beyond with fellow artists Gordon Onslow Ford and Wolfgang Paalen, his works are today widely collected and held in the permanent collections of the San Francisco Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, and Metropolitan Museum of Art, among many others. The first book in more than a decade to focus on this important figure in twentieth- century American art, Cosmic Theater: The Art of Lee Mullican surveys a key theme running through the artist’s entire career, framing his unusual hybridization of sym- bolic figuration, abstracted landscapes and abstract space in his long-time fascination with the sky and the galaxy beyond it. It explores the development of Mullican’s work in the context of his time and his biography, looking also at the implications of Jungian philosophy in relation to his admiration of Pre-Columbian and Native American cul- tures. Michael Auping’s essay is complemented by some fifty full color plates featuring rare major paintings and drawings by Mullican from the 1940s to the 1970s.

Michael Auping has been chief curator at the Modern Art Museum of Fort Worth, TX, 1993–2017. He is a distinguished specialist in the international developments of postwar art and renowned as a curator and scholar of Abstract Expressionism.

N ew titles 2018–2019 20 Edited by Michael Bird First book to place the art of British With an Essay by Martin R. Sullivan sculptor Lynn Chadwick in its inter- national context Hardback 224 pages, 215 color and Examines in particular the recep- 15 b/w illustrations tion and promotion of Chadwick’s 24 × 30 cm (9½ × 11¾ in) sculpture in the United States 978-3-85881-824-9 English CHF 75.00 | EUR 68.00 Richly illustrated GBP 60.00 | USD 79.00 ART

MAY 2019 (Europe) JUNE 2019 (US)

Lynn Chadwick A Sculptor on the International Stage

British sculptor A leading modern British sculptor, Lynn Chadwick (1914–2003) was celebrated for his Lynn Chadwick abstracted figures of human and animal forms in welded steel and bronze. His work first attracted international attention at the 1952 Venice Biennale. Just four years later and the American he became the youngest-ever artist to be awarded the International Prize for Sculpture, audience which Alberto Giacometti had been expected to win. The paradox of Chadwick’s long career is that, while his work later fell out of favor in his native Britain, he would always sustain a high reputation abroad. The first book to set Chadwick’s work in international context, Lynn Chadwick: A Sculptor on the International Stage sets out to change that. Art historians Michael Bird and Marin R. Sullivan provide new insights into the development of his work. They vividly locate his art within the wider context of postwar European and Ameri- can sculpture, including the work of Giacometti and David Smith, who worked along- side Chadwick in Italy in 1962, and Chadwick’s reception in the USA. Taking readers through key developments in Chadwick’s career, Bird and Sullivan rightfully restore this major artist’s place in the history of 20th-century sculpture.

Michael Bird is a British author and art historian and has written extensively on modern British art. He is currently Royal Literary Fund Fellow at the University of Exeter.

Marin R. Sullivan is a Chicago-based art historian, curator, and teacher. She has held teaching and research appointments at Keene State College in Keene, NH.

N ew titles 2018–2019 21 Table of Contents

Preface ...... 17 Matter and Form of Spirit: Jung’s Painting and Introduction...... 24 Calligraphy Techniques ...... 222 Jung’s reasons for creating The Red Book are best considered in the context of his lifetime of creative activity. Creative process and the choice of mediums The Matter of Spirit to express and enhance it were always central to Jung. He describes using me- diums that felt consonant with an experience he needed at the time and with the Creative Impulse, Designing Pages and Making Changes matter and form in which he wished to express or invite that experience. Outlining Certain themes run throughout his brief accounts of his work in the ...... 32 arts: play; the complementary roles Creative Process Working in Color “ In order to seize hold of the of intention and spontaneity; ritual; Perspectives on Jung’s Creativity Creating Transparency and Opacity fantasies, I frequently imagined a rites d’entrées from a “blank wall” into ideas and theories that followed hard on steep descent.This detail I even from made folio severali of The Pooling Red Book is shown actual size, the heels of his “play”; myth-making; attempts to get to the very bottom. a sense of connection with ancestral Layering 4 by 4 cm (1.57 by 1.57 in.). Contexts for Jung’s The fi rst time I reached, as it were, forces; a way of expressing deep Working in Miniature © W. W. Norton and Company | Used by emotions (such as he experienced fol- Creative Process ...... 44 a depthpermission of about of a the thousand Stiftung der feet; Werke von lowing the death of his wife, Emma); Creating Patterns C. G. Jung the next time I found myself at and “all those things which have car- Jung’s Experiences with Art Prior to The Red Book Tiling ried me out of time into seclusion, the edge of a cosmic abyss.” Detail from The Red Book, half-title page for Liber Secundus. Detail from The Red Book, page 109. 9 Jung’s Reasons for Making The Red Book out of the present into timelessness.” © W. W. Norton and Company | Used by permission of the Stiftung der Werke von C. G. Jung © W. W. Norton and Company | Used by permission of the Stiftung der Werke von C. G. Jung —C. G. Jung, Memories, Dreams, Refl ections, 181 Creating Natural Symmetry On the Cropping and MagnifiJung’s cation retiring of room at Bollingen— “As long as we ourselves are caught in the process of creation, we “The fi rst notion here [quote from Christiana Morgan’s diary] The Physical Context of Küsnacht Using Perspective and Dimensionality The Redthe space Book itself andIlluminations the wall paintings—served in This a vital Text and highly private role neither see nor understand; indeed we ought not to understand, for is that the book frees one from fascination with one’s visions, as a place of “spiritual concentration”10 paralleling his description of such nothing is more injurious to immediate experience than cognition. But from being bound by and in thrall to them. As an expression of Jung’s Standing Desk for The Red Book for the purpose of cognitive understanding we must detach ourselves individual religiosity, the book constitutes the incarnation of the Using Calligraphy: Hand Matters Many magnifi ed crops of images from The Red11 Book appear in this book. work’s power to become one’s personal church or cathedral. from the creative process and look at it from outside; only then does it soul in matter, in a union of form and content. Consequently, The Physical Context of Bollingen: A Creative Matrix To offer myThe fi ndings earliest of without these creative them processes would date haveto childhood, been and to it violate was a tenet upon become an image that expresses what we are bound to call ‘meaning.’” one can understand the reluctance to publish the text on its own, as this would then separate these things. Word and image —C. G. Jung, The Spirit in Man, Art, and Literature, Collected Works 15, 78, ¶121 which toThe childhood Red thatBook Jung was turned based: when he said inseparability to himself as an adultof word facing theand image. From would be separate, and the work would no longer be unique.” Materials for Exploring and Researching Inner Images unknown, “Since I know nothing at all, I shall simply do what occurs to me.”12 —Shamdasani, C. G. Jung: A Biography in Books, 121 ...... 362 the outset, my goal as researcher has been to enlarge these crops from Jung’s Tools: Shaping Spirit The Matter of Confession The RedWhat Book occurred illuminations to him was a creative as much activity asfrom the his childhood:originals building would permit so that structures with stones and mud. He refers to this adult exploration as “play” and Jung’s Work in Stone the viewer could appreciate Jung’s complex painting and calligraphy its functions as clarifying his thoughts and enabling him to grasp dimly felt fan- techniques13 and see sections of the illuminations through his eyes. tasies. He remembers noticing at the time he fi rst engaged in this adult “play” Pigments of the Imagination: The fi rstthat requirement it also had the quality was of permission a rite. This surprised from him, the but Stiftung he knew with der Werke certainty that this activity was a vital part of discovering his “own myth.”14 More Than Art: von C. G. Jung (Foundation of the Works of C. G. Jung) to use sections of Research and Analysis ...... 142 illuminations. Thomas Fischer, director of the Foundation, kindly granted Jung’s Contemplative Practice ...... 378 me permission—as long as the sections did not exceed 5 by 5 cm (about Face to Face with The Red Book 2 by 2 in.) 9 C. G. Jung, of Memories, any Dreams, original Refl ections, 224. illumination. At all times this limit has been In Search of Fugitive Fragments in The Red Book Art-Making as a Spiritual Practice 10 Ibid. 11 Douglas, Translate This Darkness, 159. respected.12 As a result, certain images appear incomplete or cropped C. G. Jung, Memories, Dreams, Refl ections, 173 –74. Space in Potentia in Jung’s Creative Work 13 Ibid., 174. Sampling Jung’s Pigments at Bollingen in an unexpected14 Ibid., 175. way. They are. Dust or Gold? The Red Book Paint Time and Place in Jung’s Creative Process 62 The second requirement was permission from W. W. Norton & Company, 63 Fragments and Bollingen Pigments Inc. to use these image crops. The original manuscript is owned by the Foundation; the scans prepared for the facsimile edition are owned by Unsung Heroes: The Bollingen Pigments ...... 412 Norton. Robert Shatzkin , permission manager at Norton, kindly granted Keim Pigments Passing on Passion this permission and worked closely with me during the process. Teaching Patients IG Farben Powdered Pigments Hugh Milstein, cofounder and president of DigitalFusion, who scanned Orphan Pigments the original manuscript of The Red Book for the facsimile, oversaw each individual crop. It was crucial that Jung’s fi nest details be seen clearly by Elemental and Molecular Analysis Appendices ...... 426 the viewer—each brushstroke, each dot, each correction, each subtle Scientifi c Analysis of The Red Book Paint change of tone. DigitalFusion gave absolute priority to resolution. Fragments and Bollingen Pigments I am deeply grateful to each of these dedicated individuals for making The Cost of Beauty: Toxicity Bibliography ...... 442 it possible to provide the viewer with the images in this book. Jill Mellick Acknowledgments ...... 450

About the Author...... 454

A unique key to a central

A 2007 view of the library shows Jung’s large table where it currently resides, some of the heavily used bookshelves, The large table, on which Jung painted much if not most of The Red Book, is Jung’s large work table and lamp are currently located and the beginning of the hallway that passes the study on the left and leads to the library door. no longer near the French doors that brought in light in daytime and summer beside windows that overlook the Zürichsee. © Jung Family Archives evenings. The table is now next to a window at the other end of the library. © Andreas Jung The lamp Jung used for painting and reading still stands on the desk. © Jung Family Archives part of C.G. Jung’s oeuvre— the legendary Red Book 82 83

At DigitalFusion, conservation scientist Jennifer Mass closely examines a huge magnifi cation of one of The Red Book pages. A folded packet of Oberrot (intense red), origin unknown, was © Hugh Milstein among the pigments at Bollingen. Jung may have used it in The Red Book and probably used it for wall paintings. © Jill Mellick

To fully understand The Red Book illuminations, it is necessary to study them not only under high magnifi cation but also on a microscopic and even molecular level. At the Scientifi c Research and Analysis Laboratory, Winterthur Museum in Delaware, Jennifer Mass performs all analyses on the powdered pigments from Bollingen and The Red Book particles. She uses a variety of tests and instruments, including this X-ray fl uorescence spectrometer. Photograph Jennifer Mass | © Jill Mellick

Top row and above: Three powdered Jung’s Keim color chart, sent with the vials for testing, pigments from Bollingen undergo undergoes X-ray fl uorescence analysis. X-ray fl uorescence analysis. © Jill Mellick Photographs Jennifer Mass | © Jill Mellick

Top left: This powdered mineral pigment from the Tower at Bollingen—Keim Rubinrot (K6)—was sent for analysis. Jung transferred many pigments out of their original containers as their volume decreased with use. Though this unidentifi ed pigment was not sent for analysis, Top center: Jung might have used this red the small amount remaining and the shade of pink suggest mineral powdered pigment of unknown origin that it might have been used in The Red Book. Jung might in either The Red Book or his wall paintings, also, or alternatively, have used it for wall paintings. or both. It was not sent for analysis. © Jill Mellick Top right: This orange-red of unknown origin is brilliantly fresh in its original state at Bollingen. It was not sent for analysis. Lower left: This warm ochre is from an unknown Raman spectroscopy: inside the sample chamber. A sample from The Red Book under the A particle from between pages 70 and 71 of source. The label on this bottle, written in pencil, Fourier transform infrared microscope. The Red Book is prepared for Fourier transform simply says “ROT” (RED). The tape suggests Photograph Jennifer Mass | © Jill Mellick infrared spectroscopy on a diamond cell. that this might have been written more recently. Photograph Jennifer Mass | © Jill Mellick Photograph Jennifer Mass | © Jill Mellick Lower right: This red Keim powdered mineral pigment is among those at Bollingen, but it was not sent for analysis. © Jill Mellick

126 127 172 173

Jung’s use of gold leaf is visible on many pages of The Red Book. He also Jung used gold leaf on page 125 of The Red Book. This nonprecious metallic gold-bronze Jost Hoerni sampled the gold-bronze paint used a metallic, powdered mineral pigment resembling gold. The fragile gold squares intentionally overlap. paint was used in The Red Book. and designated it S1, maker unidentifi ed. Andreas Jung stands with his hand on the © Jill Mellick © W. W. Norton and Company | Used by permission © Jill Mellick © Jill Mellick dividing wall that separates the bookcase of the Stiftung der Werke von C. G. Jung from the space where the standing desk must have been installed. © Jill Mellick

Andreas Jung’s drawing of the standing desk Edward Johnston published Writing & Illuminating Edward Johnston describes the correct shows its height, proportion, and slope. The desk & Lettering in 1906, and in so doing he formalized positioning for doing calligraphy on page 62 of fi ts Jung’s personal height and is in close accord and popularized the study of calligraphy. his 1906 work Writing & Illuminating & Lettering. with Edward Johnston’s recommendations for Johnston even designed the typeface used for Public domain the angle at which calligraphy should be done. the London Underground. Here he demonstrates © Andreas Jung the correct hand and body angle for calligraphy. Photographer unknown | Public domain

“The essential thing is to differentiate oneself from these unconscious contents by personifying them, and at the same time to bring them into relationship with consciousness.”

—C. G. Jung, Memories, Dreams, Refl ections, 187

Andreas Jung found Jung’s standing desk in the gardener’s shed. The desk, which fi ts into Jung used gold leaf on page 119 of The Red Book, fi rst preparing the page so the gold In this detail from page 119 of The Red Book, Jung uses gold-bronze paint the study in the one area with no bookshelves, is unusually tall—as was Jung. A facsimile leaf would adhere. Here the gold leaf has fl aked off, exposing the adhesive beneath. in the small circle and gold leaf on the right. of The Red Book fi ts exactly on top. The desk’s three shelves presumably stored paints, © W. W. Norton and Company | Used by permission of the Stiftung der Werke von C. G. Jung © W. W. Norton and Company | Used by permission of the Stiftung der Werke von C. G. Jung brushes, and inks. When tested, the green paint used to paint the desk itself was found to contain arsenic. The study walls are the same color but do not contain arsenic. © Jill Mellick

94 95 184 185 By Jill Mellick A unique study of and reference work on C.G. Jung’s monumental Hardback, leather-bound Red Book (Liber Novus) approx. 460 pages, 545 color and 22 b/w illustrations Documents comprehensive re- 24 × 30 cm (9½ × 11¾ in) search on Jung’s experience with 978-3-85881-816-4 English creativity and his studied choices CHF 120.00 | EUR 97.00 of art mediums and techniques GBP 90.00 | USD 120.00 PSYCHOLOGY / ART Lavishly illustrated, featuring en- larged details of Jung’s colorful DECEMBER 2018 (Europe) and intricately detailed sketches FEBRUARY 2019 (US) and of his own rarely seen pig- ments

The Red Book Hours Discovering C.G. Jung’s Art Mediums and Creative Process

In 1913, psychiatrist, psychoanalyst, and theorist Carl Gustav Jung (1875–1961) experienced powerful visions, often terrifying. However, seeing their great potential value he found ways to encourage further visions and fantasies. Over many years, he recorded his experiences in a series of small journals, added commentaries and transcribed them, using calligraphy and illuminations, into a large, red, leather-bound volume, commonly known as The Red Book. Jung never published the Liber Novus, as he called this pivotal part of his oeuvre, and left no instructions for its final dispo- sition, and it therefore remained unpublished until recently. The Red Book Hours complements the facsimile edition and English-language trans- lation of The Red Book, published in 2009, and draws out insights into Jung’s affinity with art as a means of personal insight. Psychologist and multimedia artist Jill Mellick documents copious research into Jung’s choices regarding media and technique and his careful design of environments in which he could experience creative processes and allow unconscious content to flow forth. Her unlikely journey includes explorations of memory, serendipity, and science. A stunning interplay of texts and images includes magnifications of the wildly colorful and intricately detailed sketches from The Red Book and a selection of Jung’s own pigments, never seen until now, The Red Book Hours presents a more comprehensive picture than ever before of the foundational psychoanalyst’s experience and expression of his rich inner world.

Jill Mellick, Ph.D., professor emerita, is a clinical psychologist, researcher, nonfiction and fiction author, and multimedia artist. She has been in private practice as a Jungian psychotherapist and expressive arts therapist in Palo Alto since 1984.

N ew titles 2018–2019 23 Edited by Anne Mosseri-Marlio Minoru Onoda is one of the most distinguished artists in Japan since Hardback World War II 232 pages, 175 color and 7 b/w illustrations This is the first-ever monograph on 24 × 30 cm (9½ × 11¾ in) Onoda, richly illustrated in color 978-3-85881-821-8 English throughout 978-3-85881-822-5 Japanese CHF 75.00 | EUR 68.00 Explores Onoda’s relationship with GBP 60.00 | USD 79.00 the Gutai artists’ movement and ART his creative process

DECEMBER 2018 (Europe) FEBRUARY 2019 (US)

Minoru Onoda

A key exponent Minoru Onoda is best known as a member of Gutai, Japan’s first postwar radical of Japan’s radical artistic movement, which challenged what it saw as the rigid, reactionary ideologies of the art of the time and initiated new ones that redefined the relationships among mat- art movement ter, time, and space. Concurrently to the inception of Gutai, Onoda became enchanted Gutai by concepts of repetition, producing paintings and drawings with amalgamations of gradually increasing dots and organically growing shapes. But less is known in the West about Onoda’s early and late-career work. At long last, this first-ever full monograph on Minoru Onoda introduces him as an artist in his own right. Apart from his role with Gutai, the book mines Onoda’s sketch- books and completed works to explore his creative process over time, from his artistic education in the late 1950s at the Osaka Institute of Fine Arts and the Osaka School of Art to his later works following the 1972 disbanding of Gutai, which see the artist moving toward a monochrome and more conceptual style. Alongside critical essays by Edward M. Gómez, Astrid Handa-Gagnard, Shoichi Hirai, and Koichi Kawasaki, and Takesada Matsutani, are nearly 175 full-color illustrations.

Anne Mosseri-Marlio established her art gallery in Basel in 2008, where she features minimal, geometrical abstraction, non-objective and, conceptual art.

N ew titles 2018–2019 24 Photographs and texts by Meinrad Schade

Hardback 188 pages, 76 color illustrations 24 × 19.5 cm (9½ × 7¾ in) 978-3-85881-808-9 Arabic / English / German / Hebrew CHF 49.00 | EUR 48.00 GBP 45.00 | USD 49.00 PHOTOGRAPHY

AVAILABLE

An exceptional investigation of the Israeli-Palestine conflict

Captions in English, German, He- brew, and Arabic invite readers to approach the topic from different perspectives

The book’s visual narrative works in either reading direction

Unresolved 2018 marks the 70th anniversary of both the founding of Israel and the beginning of the ongoing conflict

What incites a In 2018, Israel marks the seventieth anniversary of its statehood. Yet the events of conflict and 1948 are remembered very differently by the Palestinian people, who to this day carry the memory of the Naqba, the displacement of an estimated 750,000 Palestinians from makes it seem their territories during the 1948 war. The seven decades since have seen no lasting unresolvable? agreement to assuage the volatile political and social situation in the region, with no apparent resolution in sight for many years to come. Unresolved is the most recent photo essay by renowned Swiss photographer Meinrad Schade. A continuation of his War without War project, in which he documented the lingering traces of war in the former Soviet Union, the book explores the visible signs of conflict and the scars this leaves on both people and landscapes in Israel, the West Bank, the Golan Heights, and the Gaza Strip. Yet even more importantly, Schade shows the reader the sometimes more hidden symbols of turmoil that can be found in daily life and that are both result and catalyst of the struggle. The captions highlight historic and current aspects of the conflict and invite readers to see it from different perspectives.

Meinrad Schade is one of Switzerland’s most highly recognized documen- tary photographers. He lives and works in Zurich.

N ew titles 2018–2019 25 Photographs by Dominic Büttner Features a unique photograph- Texts by Elisabeth Bronfen and ic-artistic project Nadine Olonetzky First monographic book on Domini Hardback Büttner’s work 144 pages, 88 color and 5 b/w illustrations 28 × 33 cm (11 × 13 in) 978-3-85881-598-9 English / German CHF 65.00 | EUR 58.00 GBP 50.00 | USD 69.00 PHOTOGRAPHY

NOVEMBER 2018 (Europe) FEBRUARY 2019 (US)

Dominic Büttner—Dreamscapes

Exploring the Dreamscapes is a long-term artistic project of Swiss photographer Dominic Büttner, eeriness of in which he is recording performances at night, both in natural and built environ- ments. Holding a torch, he slowly walks away from his large-format view camera. our everyday Time exposure captures the scenery illuminated by the moving light, and sometimes surroundings his footprints as well, while eradicating again the artist himself from the image. At at night the same time familiar and strange, these fascinating pictures of enchanted or haunted landscapes show us how eerie our everyday surroundings can become when seen in a different light. This first monographic book on Dominic Büttner’s art features around 100 of his Dreamscapes along with essays by literary scholar and critic Elisabeth Bronfen and by publicist and art critic Nadine Olonetzky.

Dominic Büttner lives and works in Zurich as a freelance photographic artist.

Elisabeth Bronfen is professor of English and American studies at the University of Zurich and, since 2007, Global Distinguished Professor at New York University.

Nadine Olonetzky is a Zurich-based freelance writer and critic and an editor with Scheidegger & Spiess.

N ew titles 2018–2019 26 Photographs by Luca Zanetti A striking portrait of contemporary With texts by Anamaria Bedoya rural Colombia and its people Builes, Alfredo Molano, and Luca Zanetti A revealing documentation of the consequences of lacking state au- Hardback thority, civil war, and the interna- 300 pages, 186 color and tional war on drugs 31 b/w illustrations 16 × 23.5 cm (6¼ × 9¼ in) Features previously unpublished 978-3-85881-814-0 English images and texts 978-3-85881-815-7 Spanish CHF 39.00 | EUR 38.00 GBP 35.00 | USD 45.00 CURRENT AFFAIRS / PHOTO- GRAPHY

AVAILABLE

Colombia On the Brink of Paradise

A country teeter- Colombia is a land of natural beauty and rich cultural heritage, of rainforests and ing between rivers, of peaceful rural farms and ranches where farmers and gauchos gather for work and leisure. But behind this impression of bucolic serenity, Colombia’s people paradise and live through considerable hardships. Poverty is prevalent in many isolated parts of the abyss country where state authority is largely absent, and seventy years of armed conflict between the Colombian army, right-wing paramilitary forces, and left-wing guerrilla groups, such as the FARC and the ELN, continue to leave lasting scars. The country’s central role in the cocaine trade both provides for and threatens the livelihood of many Colombians. Luca Zanetti’s extraordinary photographs in this book portray a country teetering between paradise and the abyss, a wildly colorful and chaotic backdrop to the stories of everyday people’s lives. The book also features essay on the historic, political, and social context of the conflict by sociologist Alfredo Molano—who closely followed the peace negotiations of 2012–16 between the Colombian government and the FARC—along with brief introductory texts by journalist Anamaria Bedoya Builes, and a postscript by Luca Zanetti.

Luca Zanetti lives and works as a freelance photographer in Zurich and Bogotá. His images have been published in international newspapers such as The New York Times and Time.

Anamaria Bedoya Builes is a Bogotá-based journalist and newspaper editor.

Alfredo Molano is a sociologist, one of Colombia’s most distinguished pub- licists, and a member of the truth commission established as part of the 2016 peace agreement between the rebels and the Colombian government.

N ew titles 2018–2019 27 Photographs by Tom Haller With an essay by Cristian Seiler

Hardback approx. 96 pages, 64 color illustrations 28 × 22 cm (8¾ × 11 in) 978-3-85881-602-3 English / German CHF 49.00 | EUR 48.00 GBP 45.00 | USD 55.00 PHOTOGRAPHY

DECEMBER 2018 (Europe) MARCH 2019 (US)

First monographic book on Tom Haller’s photography

An outsider’s view on the Ameri- can landscape and how it reflects the state of the country’s society

Tom Haller—Nuggets American Landscapes

Photographic Swiss photographer Tom Haller has gained wide recognition for his work in portrai- nuggets of America ture and reportage. Lesser known, but of equal expressive quality, are the landscapes he has captured on his many journeys across the United States over the course of nearly three decades. His view of America takes the perspective of a foreign traveler. Haller directs his gaze into the prairie, at mountains, and towards the sky, along the road and the buildings lining it, motels, stadiums, shops, and abandoned cars on the open plains. His images depict both the promise of these landscapes and the limits of the dreams they inspire.

Tom Haller is a Zurich-based photographer, working as a freelancer with a special interest in portraiture and reportage.

Christian Seiler lives and works in Vienna as a freelance journalist, writer, and editor, contributing to various daily and weekly newspapers and magazines in Germany, Austria, and Switzerland.

N ew titles 2018–2019 28 Edited by Katrin Luchsinger, Documents a unique research proj- Helen Hirsch, and Thomas Röske ect at Zurich University of the Arts ZHdK on art created by people Hardback suffering from mental illness 320 pages, 82 color and 74 b/w illustrations Richly illustrated in color through- 17 × 24 cm (6¾ × 9½ in) out 978-3-85881-604-7 English / German Most of the featured art works CHF 39.00 | EUR 38.00 have never been published before | GBP 35.00 USD 45.00 Exhibitions: Prinzhorn Collection, ART Heidelberg (Germany, October 2018 to January 2019), Kunstmu- NOVEMBER 2018 (Europe) seum Thun (Switzerland, February FEBRUARY 2019 (US) to May 2019), and LENTOS Kunst- museum Linz (Austria, June to Au- gust 2019)

Extraordinary! Unknown Works from Swiss Psychiatric Institutions around 1900

A little known, While the public’s interest in art created by people suffering from mental illness has idiosyncratic early been growing in recent years, it remains a relatively exotic topic in academic research. In a unique research project at Zurich University of the Arts ZHdK, art works pro- modernism in duced around 1900 by patients in mental asylums and hospitals in Switzerland have Swiss visual art been recorded, documented, and examined. Their authors worked on many of them for long periods, always with dedication, and often revealing remarkable technical and artistic prowess. They saw their art as a contribution to public life, as their own invention and expression of their ideas, but also as a way to compensate for—and to criticize—the dull and often hard life in the mental health institutions of turn-of-the- century Switzerland. This new book, featuring a multifaceted selection of previously unpublished art works, questions our contemporary understanding of art, and the art history canon, inspiring readers to revisit their own concepts of what constitutes art and to engage with these artists and discover their work.

Katrin Luchsinger is a professor of art education at Zurich University of the Arts’ Department of Cultural Analysis.

Helen irsch worked as a trained nurse in mental hospitals before studying art history and arts management. She has been director of Kunstmuseum Thun in Switzerland since 2007.

Thomas Röske is director of the Prinzhorn Collection at Heidelberg University Hospital.

N ew titles 2018–2019 29 Flexicover First monograph on Austrian-Swiss 256 pages, 198 color and artist Othmar Eder 2 b/w illustrations 17 × 24 cm (6¾ × 9½ in) 978-3-85881-582-8 English / German CHF 65.00 | EUR 58.00 GBP 50.00 | USD 65.00 ART

AVAILABLE

Othmar Eder—Finding Images Edited by Katja Baumhoff

Katja Baumhoff is a scholar of art The work of Austrian-born, Swiss-based artist Othmar Eder is marked by a multitude of history. She lives and works as a materials, media, and formats. The passage of time and his personal experiences traveling freelance curator in Winterthur, Switzerland. from place to place are the key inspirations for his creative process. Across his entire body of paintings and drawings, motifs related to these themes are recurrent, with sometimes minor, sometimes major variations. Eder also frequently works in photography and video, where his focus is on subtle shifts in structure and texture. Featuring 250 illustrations, Othmar Eder— Finding Images provides a stunning overview of Eder’s work to date.

Essays and a conversation with First monograph on Oliver Schwarz Oliver Schwarz by Rahel Hartmann as an artist Schweizer Features around 400 previously Flexicover unpublished works 520 pages, 401 color illustrations 17.5 × 30 cm (7 × 11¾ in) 978-3-85881-589-7 English / German CHF 75.00 | EUR 68.00 GBP 65.00 | USD 79.00 ART

AVAILABLE

Schwarzflug Oliver Schwarz—Drawings and Paintings

Rahel Hartmann Schweizer is a Oliver Schwarz is a well-known architect in his native Switzerland. Less widely known Swiss scholar of art and architec- tural history and a freelance writer, is his skill as an artist and inventor of a series of extraordinary flying contraptions. curator, and lecturer. Schwarzflug aims to make Schwarz’s body of artistic work known to a wider au- dience. It is the first book to focus on his paintings, drawings, and inventions over three decades. In her essays, Rahel Hartmann Schweizer explores his art and its ties to Western artistic traditions. In a conversation between artist and author, Schwarz offers insights into his creative process.

N ew titles 2018–2019 30 Edited by Fanni Fetzer First monograph on Claude Sandoz in English In cooperation with Kunstmuseum Luzern Lavishly illustrated with previously unpublished works Paperback 176 pages, 83 color illustrations Exhibition: Kunstmuseum Luzern 21 × 29.7 cm (8¼ × 11¾ in) (Switzerland, August to October 978-3-85881-606-1 2018) English / German CHF 49.00 | EUR 48.00 GBP 45.00 | USD 55.00 ART

AVAILABLE (Europe) FEBRUARY 2019 (US)

Claude Sandoz. A Kind of Panorama Anse Chastanet, St. Lucia 1997–2018

Fanni Fetzer is director of Since 1997, artist Claude Sandoz has been sharing his time between his native Switzerland and Kunstmuseum Luzern. the Caribbean island of St Lucia. Each time he returns from the Antilles, he brings back chests full of new sketches and drawings. The island theme provides a focal point for his exuberant work. Sandoz is no longer a tourist, he has “gone native” of his second home and developed a much more complex relationship with St Lucia than a mere seasonal artist’s residence would allow. This new book features a vast selection of Sandoz’s works, complemented by essays and a conversation with the artist.

Edited by Kesselhaus Josephsohn Features Josephsohn’s works on display in exhibitions over the Paperback course of six decades approx. 152 pages, 100 color and 40 b/w illustrations Demonstrates different curatorial 17 × 23 cm (6¾ × 9 in) strategies since the 1950s 978-3-85881-810-2 English 978-3-85881-584-2 German CHF 29.00 | EUR 29.00 GBP 25.00 | USD 35.00 ART

MAY 2019 (Europe) JULY 2019 (US)

Hans Josephsohn Exhibition Photographs

Kesselhaus Josephsohn in St. Gal- Hans Josephsohn (1920–2012) was an internationally renowned Swiss sculptor, his plaster and len, Switzerland, is an exhibition bronze casts speaking to the question of the human condition. His work is both a continuation space dedicated to the work of Hans Josephsohn. of a long tradition of classical sculpture and a wholly modern approach to the genre. This new book offers around 100 images of his works in public displays, providing insight into Joseph- sohn’s artistic development as well as demonstrating various curatorial strategies in important museums and galleries. The essays investigate the characteristics and potential of exhibition photography and the processes of curating since the 1950s.

N ew titles 2018–2019 31 Edited by the Nordamerika Native Karl Bodmer’s watercolors and Museum Zurich sketches are among the most im- portant documents of Native New edition American culture of the 19th cen- Hardback tury 208 pages, 114 color illustrations 21 × 25 cm (8¼ × 9¾ in) Features a comprehensive selec- 978-3-85881-600-9 tion of Bodmer’s watercolors and English / German etchings produced from his origi- CHF 49.00 | EUR 48.00 nals GBP 45.00 | USD 55.00 ART

AVAILABLE

Karl Bodmer A Swiss Artist in America 1809–1893

North America Native Museum In 1832, Swiss artist Karl Bodmer (1809–93) set out with Maximilian, Prince of Wied, on a Zurich has emerged from a private twenty-eight-month-long expedition along the Ohio and Missouri Rivers. En route, Bodmer collection of Native American arti- facts acquired by the city of Zurich produced more than 400 watercolors and sketches of Native American people, landscapes, in 1961. animals, and plants. Paying homage to the great painter who captured for the rest of the world so many important indigenous details of early America, this book presents all eighty-one en- gravings of Bodmer’s pictures used to illustrate Travels in the Interiors of North America, Prince Maximilian’s classic historical account, as well as the original watercolors, sketches, and photographs collected during the passage.

Edited by Wilfried Dechau Tells the unknown story of and documents a masterpiece of Swiss Hardback civil engineering 144 pages, 91 color and 48 b/w illustrations 31.5 × 24 cm (12½ × 9½ in) 978-3-85881-587-3 English / German / Rhaeto-Romanic CHF 65.00 | EUR 58.00 GBP 50.00 | USD 65.00 ARCHITECTURE

AVAILABLE Nossa Punt Tavanasa—Bridges Landscape

Wilfried Dechau is a civil engineer Built in 1928 by renowned Swiss engineer Walter Versell (1891–1989), the modern bridge and freelance publicist and photog- crossing the Rhine at Tavanasa, Switzerland, was eventually no longer strong enough to serve rapher. today’s heavy traffic, and it was replaced by a new viaduct nearby. With strong local support for the initiative, Versell’s original elegant structure was preserved and restored and now serves as a pedestrian bridge. This lavishly illustrated new book tells the story of this masterpiece of Swiss civil engineering set in the context of the entire Tavanasa “bridgescape.”

N ew titles 2018–2019 32 Key titles Previously Published The Gilman and Gonzalez-Falla Tatyana Franck is director of Collection Lausanne’s Musée de l’Elysée since 2015. Edited by Tatyana Franck and Pauline Martin Pauline Martin is a conservator at the Musée de l’Elysée in Lausanne In cooperation with the Musée and a lecturer at Geneva School de l’Elysée, Lausanne of Art and Design.

2018. Hardback 200 pages, 101 color and 32 b/w illustrations 21 × 27 cm (8¼ × 10½ in) 978-3-85881-800-3 English PHOTOGRAPHY

CHF 49.00 | EUR 48.00 GBP 45.00 | USD 55.00 The Beauty of Lines

Sondra Gilman and Celso Gonzalez-Falla have put together what is widely recognized as one of the World’s most significant private collections of photographs. Spanning the entire history of the medium, it lacks hardly any of the names that forged his history. It comprises some of the most famous masterpieces by artists such as Eugène Atget, Robert Adams, Walker Evans, Rob- ert Mapplethorpe, Cindy Sherman, Hiroshi Sugimoto, or Thomas Struth. This book features a selection of outstanding works from the collection in a striking visual confrontations rather than just chronologically, thus offering a key to their physical quality and inviting the reader to question his or her own individual experience of sensitive relationship to the photographic image.

Edited by Anette Freytag Anette Freytag is a Professor of Landscape Design at Rutgers Uni- 2018. Hardback versity in New Brunswick, NJ. 380 pages, 240 color and 48 b/w illustrations 19.5 × 27.5 cm (7¾ × 10¾ in) 978-3-85881-802-7 English 978-3-85881-803-4 French 978-3-85881-570-5 German ARCHITECTURE

CHF 99.00 | EUR 97.0 0 GBP 85.00 | USD 99.00

The Gardens of La Gara An 18 th century estate in Geneva with gardens designed by Erik Dhont and a labyrinth by Markus Raetz

La Gara is an 18th-century country estate near Geneva, Switzerland. The buildings have been carefully restored and renowned Belgian landscape designer Erik Dhont reinterpreted and sub- tly redesigned the gardens and surrounding grounds, completed by a palindrome-like labyrinth designed by Swiss artist Markus Raetz. The book tells the story of La Gara and illustrates its beauty. The essays investigate various aspects of the estate’s significance and characteristics, the preservation and restoration of buildings and gardens and the contemporary interventions. It highlights as well unique features such as the historic watering system for the gardens and the included fishponds. Newly com- missioned photographs by renowned Swiss photographer Georg Aerni round out this exquisite volume. Key titles Previously Published 34 By Jeannette Fischer Jeannette Fischer lives and works in Zurich as a Freudian psychoan- 2018. Hardback alyst with a focus on forms and 176 pages, 7 color and dynamics of relationships and their 24 b/w illustrations expression in art. 11.5 × 16.5 cm (4½ × 6½ in) 978-3-85881-794-5 English 978-3-85881-546-0 German ART

CHF 19.00 | EUR 19.00 GBP 18.00 | USD 20.00

Psychoanalyst meets Marina Abramovic´ Artist meets Jeannette Fischer

In summer 2015, famous performance artist Marina Abramovic´ and psychoanalyst Jeannette Fischer spent four days together at Abramovic´’s house in the Hudson Valley. Associating freely, they took a psychoanalytical perspective to explore Abramovic´’s biography and art and their interrelation. Abramovic´ hoped for reaching a better understanding of herself, her personality, and her work. The resulting book is is a search for understanding conducted by the pair, looking for the structures and dynamics that underlie Abramovic´’s life and art, rather than a therapist’s report or Fischer’s analysis of Abramovic´. Excerpts from their dialogue are featured alongside Fischer’s comments as well as images of some of Abramovic´’s performances that are referred to in the discussion.

By Peter Zumthor and Mari Lending is professor of Mari Lending architectural history and theory at With photographs by the Oslo School of Architecture Hélène Binet and Design.

2018. Paperback Peter Zumthor works with his 84 pages, 14 duotone illustrations Atelier of around 30 people in 11 × 19.5 cm (4¼ × 7¾ in) Haldenstein, Switzerland. Among 978-3-85881-805-8 English his best-known buildings are 978-3-85881-812-6 French Kunsthaus Bregenz, Therme Vals, 978-3-85881-558-3 German Museum Kolumba in Cologne, and ARCHITECTURE the Steilneset Memorial in Vardø.

CHF 29.00 | EUR 29.00 GBP 25.00 | USD 29.00

A Feeling of History

While he was working to complete the Almannajuvet Zinc Mine Museum in southern Norway in 2016, Swiss architect Peter Zumthor asked Norwegian architectural historian Mari Lending to engage in a dialogue about the project. In meandering, impressionistic style, and drawing on their favorite writers, such as Johann Peter Hebel, Stendhal, Vladimir Nabokov, or T. S. Eliot, their exchanges explore how history, time, and temporalities reverberates across Zumthor’s oeuvre. Looking back, he ponders on how a feeling of history has informed his attempts at emotional reconstruction by means of building. This small, beautifully designed book records the conversation between Zumthor and Lending. It is a surprisingly revelatory view of one of the most interesting and restlessly creative architects of our era.

Key titles Previously Published 35 Text and photographs by Ernst Scheidegger Alberto Giacometti

New revised and expanded Traces of a Friendship edition, 2013 Hardback 248 pages, 63 color and Zurich-born photographer Ernst Scheidegger (1923–2016) 186 b/w illustrations was a close friend of Alberto Giacometti. This book docu- 26 × 27 cm 978-3-85881-349-7 ments their friendship through images that Scheidegger took English / German over the course of two decades. They welcome readers into Gi- ART / PHOTOGRAPHY acometti’s studios in Paris and Maloja, Switzerland, allowing CHF 49.00 | EUR 48.00 a rare access to the most closely held aspects of the artist’s life. GBP 45.00 | USD 65.00

By Monique Meyer Alberto Giacometti Edited by Kunsthaus Zürich

Drawings and Watercolours. 2014. Paperback The Bruno Giacometti Bequest 96 pages. 144 color and 3 b/w illustrations 17 × 23.5 cm (6¾ × 9¼ in) 978-3-85881-431-9 This small book features a selection of little-known works on English / German paper by Alberto Giacometti, comprising portraits of relatives ART and self-portraits, alpine landscapes, and masterful figure CHF 29.00 | EUR 29.00 studies, as well as early copies of old and modern masters and GBP 19.99 | USD 29.00 studies of ancient Egyptian and Roman sculptures.

Edited by Madeleine Schuppli and Aargauer Kunsthaus, Aarau Swiss Pop Art

Hardback (flexicover) Forms and Tendencies of Pop Art in Switzerland 552 pages, 254 color and 1962 –1972 63 b/w illustrations 20 × 29 cm (9¾ × 11½ in) 978-3-85881-536-1 This first comprehensive survey of pop art in Switzerland English / French / German takes readers through the Swiss pop art scene in the 1960s and ART 1970s. It demonstrates how local artists sometimes borrowed CHF 69.00 | EUR 68.00 strongly from their American inspirations but also formed a | GBP 60.00 USD 75.00 distinct new Swiss movement within pop art.

Edited by Laurence Schmidlin

In cooperation with Enraptured by Color Musée Jenisch Vevey

th Paperback Printmaking in Late 19 -Century France 248 pages, 217 color illustrations 21.5 × 29 cm (8½ × 11½ in) 978-3-85881-798-3 The introduction of color in French printmaking in the 19th English / French century was a major factor in the market success of lithogra- ART phy. This compendium of the art of color printmaking uses CHF 49.00 | EUR 48.00 works by eminent artists as examples for all aspects of the GBP 45.00 | USD 55.00 trade.

Key titles Previously Published 36 Text and photographs by Charlie Koolhaas is a London-born Charlie Koolhaas Dutch artist, photographer, and writer living in Rotterdam and Hardback teaching at Amsterdam’s Sandberg approx. 256 pages, 200 color Academy. illustrations 20 × 28.5 cm (7¾ × 11¼ in) 978-3-85881-804-1 English PHOTOGRAPHY / CULTURE STUDIES

CHF 59.00 | EUR 58.00 GBP 50.00 | USD 59.00

APRIL 2019 (Europe) JUNE 2019 (US)

City Lust A Personal Journey through Globalized Economy

City Lust is the name of a fragrance that Charlie Koolhaas found in a Dubai perfumery whole- sale showroom. It is also the starting point of an expedition that leads Koolhaas to a variety of places. In Lagos, Guangzhou, Dubai, London, and Huston, she explores the rapid changes a globalized economy forces upon these very different metropolises. Her focus is not only to show the increasing uniformity of cities around the world, but also to demonstrate the dis- crepancy between cultural standardization and local diversity in the age of globalization. This book is a brilliant combination of captivating visual documentation and an equally fascinating and illuminating essay that brings together Koolhaas’s own insights into global trade and its protagonists.

Edited and with photographs by Ludovic Balland lives and works Ludovic Balland in Basel as a graphic designer spe- cializing in entire editorial projects. 2018. Hardback (flexicover) He also teaches regularly at vari- 548 pages, 283 color and ous art schools and universities in 186 b/w illustrations Switzerland, Europe, and the US. 24 × 33 cm (9½ × 13 in) 978-3-85881-809-6 English PHOTOGRAPHY / MEDIA STUDIES

CHF 75.00 | EUR 68.00 GBP 60.00 | USD 69.00

American Readers at Home

Between September and December 2016, Ludovic Balland set out for a 13,000-mile road trip across the US to document how Americans were making sense of the campaigns and the con- stant hum of media coverage in the run-up to and aftermath of the contentious election. With print media struggling to survive in an age of 24-hour real-time news and social media feeds, American Readers at Home presents a new, personalized model of storytelling in journalism that reaches audiences by emphasizing how everyday news items relate to personal experience and form people’s views. Through their statements and expressive portraits featured in the book, it encourages to consider their perspectives, their hopes, fears, and expectations both before and after the election. A highly original record of the US at a time when the country is facing great uncertainty and change.

Key titles Previously Published 37 Edited by Ralf Burmeister, Michaela Oberhofer, and Esther Dada Africa Tisa Francini Dialogue with the Other In cooperation with Museum Rietberg Zürich and Berlinische Galerie, Berlin At its height, the Dada movement not only upended European art, it also brought that tradition into unprecedented dialogue 2016. Hardback 244 pages, 203 color and with non-European forms of expression. This book offers the 38 b/w illustrations first analysis of Dada’s exploration of non-Western art and 23 × 28 cm (9 × 11 in) culture and investigates the ways in which the influence of 978-3-85881-779-2 English 978-3-85881-507-1 German Dada can be seen in postcolonial discourse and in the context ART of cultural transfer.

CHF 39.00 | EUR 38.00 GBP 30.00 | USD 40.00

Max Bill Edited by Museum Marta Herford New edition 2018. Paperback No Beginning, No End 200 pages, 167 color and 48 b/w illustrations 20 × 29 cm (7¾ × 11½ in) Swiss artist, architect, designer, typographer, and theorist 978-3-85881-578-1 Max Bill (1908–94) was one of the most eminent exponents English / German ART / DESIGN of concrete and constructive art and a key figure of 20th-cen- tury European applied arts and design. This book displays CHF 49.00 | EUR 48.00 GBP 40.00 | USD 55.00 his wide-ranging work and situates him in the context of his cultural milieu, and investigates as well his influence on other artists.

By Torsten Otte Salvador Dalí & Andy Warhol 2016. Hardback 416 pages, 28 color and 29 b/w illustrations 17 × 24 cm (6¾ × 9½ in) 978-3-85881-774-7 English This book offers the first-ever direct juxtaposition of Salvador ART Dalí and Andy Warhol as personalities and artists. Torsten CHF 49.00 | EUR 48.00 Otte builds his account through perceptive analyses of simi- GBP 35.00 | USD 49.00 larities in their lives and work, fleshed-out brilliantly through interviews with dozens of people who knew and worked with the men.

Edited by Aargauer Kunsthaus, Sophie Taeuber-Arp Aarau, and Kunsthalle Bielefeld Today is Tomorrow 2014. Hardback 288 pages, 432 color and 5 b/w illustrations 24 × 31 cm (9½ × 12¼ in) The authoritative monograph on Sophie Taeuber-Arp (1889– 978-3-85881-757-0 English 1943), demonstrating the full range of this uniquely versatile 978-3-85881-432-6 German ART artist of the avant-garde and early protagonist of the Dada movement, exploring her work in fine and applied art in equal CHF 59.00 | EUR 58.00 measures. GBP 45.00 | USD 65.00

Key titles Previously Published 38 By Jacques Barsac

In cooperation with Archives Charlotte Perriand, Paris Jacques Barsac has directed a number of internationally success- All volumes hardback, ful documentary films on historic 23 × 30.5 cm (9 × 12 in) personalities, such as Charlotte ARCHITECTURE / DESIGN Perriand, Le Corbusier, Jean Cocteau, and Winston Churchill. CHF 120.00 | EUR 120.00 GBP 100.00 | USD 130.00

Volume 1: 1903–1940 2014. 512 pages, 615 color and 375 b/w illustrations 978-3-85881-746-4 English

Volume 2: 1940–1955 2015. 528 pages, 744 color and 441 b/w illustrations 978-3-85881-747-1 English Charlotte Perriand Volume 3: 1956–1968 2017. 528 pages, 484 color and Complete Works 303 b/w illustrations 978-3-85881-748-8 English

Volume 4: 1969–1999 Charlotte Perriand (1903–99) is undoubtedly one of the most significant figures in twentieth- approx. 528 pages, 500 color and century interior design. This uniquely comprehensive monograph documents her entire life 300 b/w illustrations 978-3-85881-778-5 English and work in four lavishly illustrated volumes, featuring a wealth of never before published AUTUM 2019 images and documents. Based on extensive research, it takes readers through all stages of her career, from her early collaboration during the 1920s and 1930s with Le Corbusier and Pierre Jeanneret and her stays in Japan and Vietnam before and during World War II, her post-war collaborations with Jean Prouvé and Galerie Steph Simon in Paris and her work for Air France in the 1950s and 1960s, to her late works such as her designs for Les Arcs skiing resort in the French Alps.

Edited by Olivier Cinqualbre and Olivier Cinqualbre is curator of Frédéric Migayrou the architectural collection at the Centre Georges Pompidou in Paris. In cooperation with Centre Pompidou, Paris Frédéric Migayrou is deputy direc- tor of the Centre Georges Pompi- 2015. Hardback dou in Paris and chief curator of 256 pages, 322 color and its department of industrial design. 122 b/w illustrations 24 × 30 cm (9½ × 11¾ in) 978-3-85881-768-6 English 978-3-85881-768-6 German ARCHITECTURE

CHF 49.00 | EUR 48.00 GBP 35.00 | USD 49.00

Le Corbusier—The Measures of Man

This book offers the most up-to-date picture we have of Le Corbusier. A new generation of researchers and curators introduces him afresh from today’s perspective, looking in particular at his lifelong study of human proportion and how the human body should be housed. It traces Le Corbusier’s life and work from his earliest days through his greatest successes and lasting influences. It covers not only his iconic building designs and bold plans for city centers, but also presents a substantial exploration of his achievements as a painter and sculptor.

Key titles Previously Published 39 By Roger Wehrli and Ibon Zubiaur Roger Wehrli. Bilbao 2017. Hardback 160 pages, 95 duotone illustrations Photographs since 1988 17 × 24 cm (6¾ × 9½ in) 978-3-85881-535-4 English / German Over the duration of two decades, Bilbao has undergone a PHOTOGRAPHY remarkable transformation from Spain’s most polluted indus-

CHF 39.00 | EUR 38.00 trial city to a modern service-industry center and a contem- GBP 35.00 | USD 45.00 porary culture hub, represented by Frank O. Gehry’s iconic Guggenheim Museum. Swiss photographer Roger Wehrli’s black-and-white images tell the compelling story of decline and reinvention of a city.

With a conversation between Christian Vogt Martin Gasser and Christian Vogt

The longer I look 2017. Hardback 264 pages, 210 color, 179 duotone, and 3 b/w illustrations Swiss artist Christian Vogt has been working with photog- 20 × 27.5 cm (7¾ × 10¾ in) raphy for five decades and, in an ongoing dialogue with the 978-3-85881-791-4 English PHOTOGRAPHY medium, repeatedly given rise to a new image language. This first monograph to cover the entire range of Vogt’s oeuvre CHF 69.00 | EUR 68.00 GBP 60.00 | USD 75.00 features his conceptual work, explores his philosophical in- quiries, and demonstrates the artist’s capacity to visualize the “things behind things.”

Edited by Nadine Olonetzky Sites & Signs 2011. Hardback 312 pages, 411 color and Photographs by Georg Aerni 211 b/w illustrations 23.5 × 28.5 cm (9¼ × 11¼ in) 978-3-85881-320-6 Georg Aerni stands for one of the most interesting positions English / German in contemporary Swiss artistic and architectural photography. PHOTOGRAPHY This comprehensive monograph explores his work with a fo- CHF 120.00 | EUR 120.00 cus on architecture and manmade landscapes. GBP 90.00 | USD 130.00

Edited by Daniela Janser, Thomas Seelig, and Urs Stahel

In cooperation with Concrete Fotomuseum Winterthur

Photography and Architecture 2013. Hardback 440 pages, 156 color and 157 b/w illustrations 21 × 28 cm (8¼ × 11 in) This book presents images of iconic urban architectures and 978-3-85881-369-5 townscapes that reflect the close and complex union between English / German photography and architecture. Spanning nearly two centuries, PHOTOGRAPHY it picks up positions, juxtapositions, and thematic fields that CHF 89.00 | EUR 87.00 bring together the concrete, fundamental, and the historic. GBP 70.00 | USD 95.00

Key titles Previously Published 40 Edited by Kunsthaus Zürich Kunsthaus Zürich is home to one of the most important art collec- 2016. Hardback tions in Europe, which comprises a 240 pages, 224 color and vast number of key works by Al- 36 b/w illustrations berto Giacometti 22 × 27 cm (8½ × 10½ in) 978-3-85881-785-3 English 978-3-85881-786-0 French 978-3-85881-525-5 German ART

CHF 59.00 | EUR 58.00 GBP 40.00 | USD 59.00

Alberto Giacometti—Beyond Bronze Masterworks in Plaster and Other Materials

Although he is best known for his signature bronze sculptures, Alberto Giacometti (1901–66) worked in a variety of other media such as marble, plaster, and wood. Plaster was of particu- larly great importance to Giacometti’s work and often regarded by him as a primary medium. Many of his works in fact exist only in plaster. With more than two hundred illustrations, this book features masterpieces from every stage of Giacometti’s career. Apart from its main focus—the place of plaster in the artist’s oeuvre—it also includes works in marble, bronze, and wood. It demonstrates how Giacometti approached the material properties of the different media and offers a unique insight into the creative process of one of the twentieth century’s greatest artists.

By Beat Stutzer Beat Stutzer is a scholar of art Edited by Giovanni Seganini history and has been director of Stiftung, St. Moritz Bündner Kunstmuseum Chur 1982–2011. He is curator of the 2016. Hardback Segantini Museum in St. Moritz 208 pages, 141 color illustrations and has curated many exhibitions 25 × 30 cm (9¾ × 11¾ in) of and published widely on 19th 978-3-85881-783-9 English and 20th century art. 978-3-85881-522-4 German 978-3-85881-784-6 Italian ART

CHF 49.00 | EUR 48.00 GBP 35.00 | USD 49.00

Giovanni Segantini

This comprehensive monograph on Giovanni Segantini, the great Italian-Swisss master of late 19th-centruy symbolism, showcases sixty paintings selected from his entire prolific career. Each picture is described in detail, offering also information about the circumstances of its creation. The essays published alongside the paintings examine Segantini’s life and work as well as his reception and influence on later artists over more than a century. They also bring together the latest research on Segantini’s biography, his depictions of nature and the connections between nature and man, his masterful handling of shadow and light, and the divisionist combinations of iconography in his later works.

Key titles Previously Published 41 Edited by Samuel Titan Jr. and Sergio Burgi

In cooperation with Instituto Moreira Salles, Rio de Janeiro, Marcel Gautherot and Maison Européenne de la Photographie, Paris The Monograph

2016. Hardback 256 pages, 241 tritone illustrations The first book looking back on the entire career and work of 23.5 × 27.5 cm (9¼ × 10¾ in) Franco-Brazilian photographer Marcel Gautherot (1910–96). 978-3-85881-777-8 English 978-3-85881-495-1 German This master of twentieth-century photography, who also PHOTOGRAPHY trained as an architect and is best known for his vast doc- umentation of the construction of Brasilia, produced an im- CHF 49.00 | EUR 48.00 GBP 35.00 | USD 50.00 mense and strikingly diverse body of work.

René Burri. Brasilia Edited by Arthur Rüegg 2011. Hardback Photographs 1958–1997 224 pages, 104 color and 118 b/w illustrations 23 × 31 cm (8½ × 12¼ in) René Burri (1933–2014), celebrated Swiss photographer and 978-3-85881-307-7 member of the legendary cooperative Magnum Photos, vis- English / German PHOTOGRAPHY ited Brasilia many times over four decades. This book allows readers to look at an extraordinary city through the eyes of an CHF 79.00 | EUR 77.0 0 GBP 60.00 | USD 85.00 exceptional artist.

Edited by Hilar Stadler, Martino Stierli, and Peter Fischli

In cooperation with Museum im Las Vegas Studio Bellpark, Kriens Images from the Archive of Robert Venturi New edition 2015. Paperback 196 pages, 150 color and and Denise Scott Brown 22 b/w illustrations 20 × 26 cm (7¾ × 10¼ in) 978-3-85881-764-8 English Since it was first published in 1972, Learning from Las Vegas 978-3-85881-765-5 French has become a classic in architectural theory and one of the PHOTOGRAPHY most influential architecture texts of the twentieth century.

CHF 32.00 | EUR 32.00 Las Vegas Studio offers a unique opportunity to experience GBP 25.00 | USD 39.00 the full intent and import of Venturi and Scott-Brown’s project.

Edited by Heinz Nigg

Paperback 396 pages, 86 color and Rebel Video 202 b/w illustrations 10.5 × 19 cm (4¼ × 7½ in) The Video Movement of the 1970s and 1980s 978-3-85881-801-0 English London Bern Lausanne Basel Zurich 978-3-85881-556-9 German FILM STUDIES / CULTURE STUDIES

In the 1970s and 1980s, independent community media and CHF 39.00 | EUR 38.00 GBP 35.00 | USD 45.00 youth movements across Europe inspired and abetted each other. Activists discovered video as a medium and means to express protest and social concerns, done as participative pro- ductions fast and almost in real time. Rebel Video portrays protagonists of this movement, documenting their concerns and the lasting impact of their work. Key titles Previously Published 42 Edited by Diana Stork Diana Stork is a book editor and essayist and a former college pro- 2018. Hardback fessor and organizational consul- 248 pages, 458 color and tant. 1 b/w illustrations 24 × 28 cm (9½ × 11 in) 978-3-85881-806-5 English ART

CHF 85.00 | EUR 77.0 0 GBP 75.00 | USD 79.00

Lynn Shaler Fine Prints 1972–2017

From her early depictions of individual objects to her later works featuring complex interiors, American artist Lynn Shaler’s works are distinctive, characterized by a colorful aquatint tech- nique combined with carefully etched lines. Over a forty-year career, she has created more than two hundred aquatint etchings and has been included in major museum collections, including the Metropolitan Museum of Art, the Library of Congress, and the Victoria and Albert Mu- seum in London. This book is the first catalog to spotlight Shaler’s entire body of work. It re- produces a large selection of her prints, alongside topical essays and a conversation the artists.

Edited by Kunstmuseum Luzern Sonja Sekula & Friends 2016. Paperback 160 pages, 98 color and 2 b/w illustrations 24 × 32.5 cm (9½ × 12¾ in) 978-3-85881-512-5 English / Ger- Sonja Sekula (1918–63), one of Switzerland’s most significant man female artists, received her artistic education in New York ART and soon became closely involved with of the city’s lively art CHF 49.00 | EUR 48.00 scene and especially the surrealists around André Breton and GBP 38.00 | USD 55.00 Marcel Duchamp. This book offers a survey of Sekula’s art in context of her fellow artists’ work in the 1940s and 1950s.

By Milena Oehy Edited by Kunsthaus Zürich

Paperback Mexican Graphic Art 320 pages, 386 color and 80 monochrome illustrations 17 × 23.5 cm (7¾ × 9¼ in) 978-3-85881-799-0 English 978-3-85881-554-5 German Graphic art has long been one of the principal expressions ART of popular art in Mexico. This beautifully illustrated book CHF 39.00 | EUR 38.00 offers an overview of the development of Mexican graphic art GBP 35.00 | USD 39.00 from the late 19th century to the 1970s, documenting also the close engagement of many artists with revolutionary ideas and political and sociocultural concerns. Key titles Previously Published 43 Scheidegger & Spiess Art I Photography I Architecture

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Cover image: Kagoshima, J, 2014; © Dominic Büttner. From the book Dominic Büttner—Dreamscapes (see page 26) Image p. 33: Harwell Hamilton Harris, Byron Pumphrey Residence, Los Angeles (1939), 1943; © Fritz Block Estate Archive, Stockholm/Hamburg. From the book Photo-Eye Fritz Block: New Photography—Modern Color Slides (see pages 14/15)

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October 2018. Prices quoted in Euro are valid in Germany only including VAT. For all other countries prices quoted in Euro, Pounds Sterling and US-Dollars are recommended retail prices and may vary subject to local duty and taxes. All prices, dates and descriptions are subject to change without notice.