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Cyanotypes documents six distinct series of cyanotypes produced by visual artist, performer and composer Marclay in collaboration with Graphicstudio.Known as the inventor of 'turntablism', Marclay has explored the relationship between visual and sonic phenomena through his work in diverse media.In the cyanotypes, he reclaims the obsolete technology of the audio cassette as a tool for visual abstraction. First developed in the 1840s, the cyanotype is a camera-less photographic process performed by placing objects directly onto a photosensitive surface, resulting in a silhouetted image.Commonly known as 'blueprints', cyanotypes were famously used by nineteenth century botanist Anna Atkins and later by architects and engineers as a way of reproducing drawings.Marclay's cyanotypes capture the abstract tangles made by unspooled cassette tapes, inviting comparisons with the paintings of Jackson Pollock and other twentieth century artists.Designed by Swiss design firm NORM in collaboration with the artist, this volume includes a study of Marclay's experimentation and utilization of the cyanotype process and its broader contextualization with the history of the avant-garde by scholar Noam Elcott.

Walead Beshtyþs artworks are mostly geometrically abstract in form and industrially produced. This reminds us of the principles of minimal art. However, Beshty does not understand his works as autonomous objects that are developed in interaction with the exhibition space and the viewers. Instead, he sees them within a broader context in which they are produced, transported, installed, exhibited, viewed, traded, and discussed. Beshty?s works make this interdependence clear: they are conceived in such a way as to document their own genesis as well as to make visible the in?uences of the system in which the works also function: as a commodity, a carrier of meaning, a means of transport, a news archive, a fetish, an object of research, etc. Hence the artist deals on the one hand with the basic conditions of artistic work and on the other hand with the context in which the works are embedded, evaluated and sold. The mutual in?uence of all these elements can be experienced in his exhibitions as a dynamic network of artistic freedom and system constraints.00Text: Noam Elcott, Lynn Kost, Interviews mit Walead Beshty Walead Beshty: Lionel Bovier, Hamza Walker.00Exhibition: MAMCO - Museée d'art moderne et contemporain, Geneva, Switzerland (29.05. - 08.09.2019) / Kunstmuseum Winterthur, Switzerland (25.01. - 19.04.2020).

Gorgeous archival photos capture Calder's transformation of sculpture with his invention of the mobile With multiple essays by renowned scholars, artwork and installation images, and a suite of historic photographs of Alexander Calder's (1898-1976) work taken by Marc Vaux in the 1930s, this catalog traces the breadth of Calder's innovative practice, leading up to his conception of the mobile in 1931--an unprecedented form of kinetic sculpture that radically altered the trajectory of modern art. Alexander Calder is one of the most acclaimed and influential sculptors of the 20th century. He is renowned for his invention of wire sculpture--coined by critics as "drawings in space"--and the mobile, a kinetic sculpture of suspended abstract elements whose actual movement creates ever-changing compositions. Also included is a lively series of drawings Calder made at the Bronx and Central Park zoos of animals in motion, which recall his wire sculptures of the same subjects.

Over the course of three years, from 2006 to 2009, James Welling (born 1951) photographed the Glass House, the architectural landmark estate that Philip Johnson built in New Canaan, Connecticut, in 1949. Welling's photos offer a decided departure from the familiar views of the house and grounds: using digital cameras set on a tripod and holding a variety of filters in front of the lens, he created tinted veils and distortions that transformed the image at the moment of exposure, endowing it with powerful swells of glowing color. As Welling described it in an interview with Artforum, the use of filters enabled his project to become a laboratory for ideas about transparency, reflectivity and color. The 45 images presented here, which invite the viewer to draw associations between the camera's lens and the glass surfaces of the house itself, oscillate before our very eyes between photographic abstraction--a recurrent preoccupation for Welling--and depictions of architecture. With this body of work, Welling has located a wholly new approach to, and blend of, both genres.

The works of Anthony McCall exist on the boundaries between film, sculpture, and drawing. They are fleeting, and yet they appear solid and tangible, inviting the viewer to interact with the artwork.McCall first became known in the early 1970s with his uni