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A chronological and thematic account of avant-garde magazine design from the early 20th century to the present day, this study includes an extensive selection of international publications and touches upon a range of design movements and traditions which form part of this history.

A chronological and thematic account of avant-garde magazine design from the early 20th century to the present day, this study includes an extensive selection of international publications and touches upon a range of design movements and traditions which form part of this history.

Artwork by Gerhard Merz. Contributions by Uta Riese, Jorg von Bruchhausen.

This collection of black-and-white drawings made by Marisa Merz between 2001 and 2004 rises from the complex movements of her hand as it explores the space of the drawing surface, maniacally repeating and insisting on the stroke of the pencil, existing as if in a graphic trance.

This first volume dedicated entirely to the drawings of Mario Merz, one of the best-known and most influential artists of the Italian Arte Povera movement of the 1960s and 70s, contains reproductions of 300 drawings made from 1954 until the time of the artist’s death in 2003--many of which have never been published before. For Merz, drawing was an essential medium, at home and on his travels, not only because it was so portable and simple in terms of materials but because it allowed him to convey his mental and physical encounters “seismographically”--from singing birds to falling leaves to the noise of oncoming traffic. In his words, “All these things entered into the drawing, without directly entering it, but they entered into it as time, in the act of registration, as though the pencil were the tip of one of those instruments that record things on sheets of paper.” This essential collection contains drawings from the Objet cache-toi (Object, Hide Yourself) series; images of tables, cups and groups from the Garden of the Owls series, the Flying Flower Seeds and the Sydney Drawings; and large works depicting prehistoric “terrible animals.”

Artwork by Gerhard Merz. Contributions by Uta Riese, Jorg von Bruchhausen.

This first volume dedicated entirely to the drawings of Mario Merz, one of the best-known and most influential artists of the Italian Arte Povera movement of the 1960s and 70s, contains reproductions of 300 drawings made from 1954 until the time of the artist’s death in 2003--many of which have never been published before. For Merz, drawing was an essential medium, at home and on his travels, not only because it was so portable and simple in terms of materials but because it allowed him to convey his mental and physical encounters “seismographically”--from singing birds to falling leaves to the noise of oncoming traffic. In his words, “All these things entered into the drawing, without directly entering it, but they entered into it as time, in the act of registration, as though the pencil were the tip of one of those instruments that record things on sheets of paper.” This essential collection contains drawings from the Objet cache-toi (Object, Hide Yourself) series; images of tables, cups and groups from the Garden of the Owls series, the Flying Flower Seeds and the Sydney Drawings; and large works depicting prehistoric “terrible animals.”

German painter, author, and mixed media artist Kurt Schwitters (1887–1948) is regarded as one of the most significant artists of the international avant-garde. He studied art at the Dresden Academy, and created the nonsense word “Merz,” to describe his one-man artistic movement after the end of the first World War. Merz, as defined by Schwitters, is a “concept of the greatest possible unreservedness and artistic freedom in the choice forms of expression. Merz art is abstract and characterized by the way it crosses borders within the media.”  Drawing on a wealth of rich material held by the artist’s estate, this book provides an informative introduction and overview to Schiwtter’s entire Merz oeuvre, from the experimental magazine of the same name, which is celebrated as a noteworthy work of graphic design to his work on constructivism and surrealism, including aspects of painting, sculpture, and typography that were a precursor of modern installation art. Including 80 color illustrations, this book will engage fans of Schwitters work and reinvigorate interest in his innovative art.

German painter, author, and mixed media artist Kurt Schwitters (1887–1948) is regarded as one of the most significant artists of the international avant-garde. He studied art at the Dresden Academy, and created the nonsense word “Merz,” to describe his one-man artistic movement after the end of the first World War. Merz, as defined by Schwitters, is a “concept of the greatest possible unreservedness and artistic freedom in the choice forms of expression. Merz art is abstract and characterized by the way it crosses borders within the media.”  Drawing on a wealth of rich material held by the artist’s estate, this book provides an informative introduction and overview to Schiwtter’s entire Merz oeuvre, from the experimental magazine of the same name, which is celebrated as a noteworthy work of graphic design to his work on constructivism and surrealism, including aspects of painting, sculpture, and typography that were a precursor of modern installation art. Including 80 color illustrations, this book will engage fans of Schwitters work and reinvigorate interest in his innovative art.

Kurt Schwitters revolutionized the art world in the 1920s with his Dadaist Merz collages, theater performances, and poetry. But at the same time he was also writing extraordinary fairy tales that were turning the genre upside down and inside out. Lucky Hans and Other Merz Fairy Tales is the first collection of these subversive, little-known stories in any language and the first time all but a few of them have appeared in English. Translated and introduced by Jack Zipes, one of the world's leading authorities on fairy tales, this book gathers thirty-two stories written between 1925 and Schwitters's death in 1948--including a complete English-language recreation of The Scarecrow, a children's book illustrated with avant-garde typography that Schwitters created with Kate Steinitz and De Stijl founder Theo van Doesburg. Lucky Hans and Other Merz Fairy Tales also includes brilliant new illustrations that evoke the 1920s, 1930s, and 1940s. Schwitters wrote these darkly humorous, satirical, and surreal tales at a time when traditional German fairy tales were being co-opted by the Nazis. Filled with sharp critiques of German life during the Weimar and early Nazi eras, Schwitters's tales are rich with absurdist events and insist that not everyone--and perhaps not anyone--lives happily ever after. In "Lucky Hans," the starving protagonist tries to catch a rabbit only to have it shed its fur like a coat and run off naked into the forest. In other tales, a sarcastic gypsy stands in for a fairy godmother and an army recruit is arrested for growing to monstrous size.Lucky Hans and Other Merz Fairy Tales is a delightfully strange and surprising book.

“The work of Mario Merz leaves the impression of a compulsive urge toward transcendence. On the one hand, he is himself a kind of Second Coming, considerably less glorious than was anticipated, bringing confirmation of another postponement in the offing, a third and fourth and fifth Coming. On the other hand, he is the last futurist left standing in the wake of a future that has exhausted itself in an orgy of big bangs." --Jeanne Silverthorne

Occasion - Tr?s Bon Etat - Kurt Schwitters Ray Johnson. Merz et Moticos (2012) - Grand Format

“The work of Mario Merz leaves the impression of a compulsive urge toward transcendence. On the one hand, he is himself a kind of Second Coming, considerably less glorious than was anticipated, bringing confirmation of another postponement in the offing, a third and fourth and fifth Coming. On the other hand, he is the last futurist left standing in the wake of a future that has exhausted itself in an orgy of big bangs." --Jeanne Silverthorne

Urinals, vacuum cleaners, basketballs, glass sheets... livestock? This study of key moments in the history of ready-made and object-based art features Damien Hirst (London), Gerhard Merz (Munich), Jeff Koons (New York) and their shared historical point of reference, Marcel Duchamp (Paris and New York, 1887-1968). Recently a poll of 500 British critics called Duchamp's 1917 Fountain the most influential Modern artwork ever created. Even more recently, a man assaulted it with a hammer at the Centre Pompidou, confirming that, nearly a century later, emotions are still running high. Object-based art, which grew into a major twentieth-century trend and continues today, took its cue from the ready-made, and Re-Object explores the continuation and transformation of both lines in contemporary artistic practice, via large-format photographs and analytical essays on the artists.

The Brooklyn Bank in NYC was built in 1931 and served the community for nearly 60-years before being converted into a church. In 2019, the building reverted to its banking roots and became a financial literacy center for the neighborhood. KT Merz was commissioned to embellish the building with characters that blend banking themes with neighborhood identifiers against a matte black backdrop. This mural replicates the graphics that decorate the Brooklyn Bank's entrance. BKLYN Bank Entrance Black Wall Mural comes on 6-panels. Material: Paper.

Originally commissioned for Citibike, the NYC bike share company, this mural by KT Merz can be found in the epicenter of Bushwick. While the base color is Citibike Blue, the design itself is an homage to architecture and to KT's parents, who were both practicing architects in New York City. The façade has been featured in numerous ads and commercials and is the vibrant center of the mural-filled Bushwick neighborhood. Bushwick BKLYN Blue Wall Mural comes on 6-panels. Material: Paper.

Brooklyn-born and lifelong Brooklyn-based artist Katie Merz brings her fine art background into today's homes and lifestyles through a licensed collection of creative area rugs derived from her contemporary ink and watercolor works on paper. Power-loomed using a combination of polyester and polypropylene yarns. Each rug in this collection features a distinctive high-low textural weave that adds further dimension to both the pattern and background. Color: Beige. Pattern: Abstract.

The Brooklyn Bank in NYC was built in 1931 and served the community for nearly 60-years before being converted into a church. In 2019, the building reverted to its banking roots and became a financial literacy center for the neighborhood. KT Merz was commissioned to embellish the building with characters that blend banking themes with neighborhood identifiers against a matte black backdrop. This mural is a sampling of the graphics that decorate the Brooklyn Bank, arranged in a sleek 12-square grid. BKYLN Bank Multi-Panels Black Wall Mural comes on 6-panels. Material: Paper.

Noted mural artist Katie Merz has created a delightful sports-themed rug collection that depicts her highly distinctive glyph-art style. The artist's spontaneous and wildly oriented hieroglyphs are densely sandwiched together to illustrate the various images, icons, actions, language, energy, and essence of a number of today's most popular sports. Power-loomed using 100% polyester yarns. Embrace the fusion of artistic expression and modern sensibility, creating a space that sparks conversations and leaves a lasting impression. Color: Blue. Pattern: Abstract.

Noted mural artist Katie Merz has created a delightful sports-themed rug collection that depicts her highly distinctive glyph-art style. The artist's spontaneous and wildly oriented hieroglyphs are densely sandwiched together to illustrate the various images, icons, actions, language, energy, and essence of a number of today's most popular sports. Power-loomed using 100% polyester yarns. Embrace the fusion of artistic expression and modern sensibility, creating a space that sparks conversations and leaves a lasting impression. Color: Multi-Colored. Pattern: Abstract.