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Artists in the still-young Federal Republic of Germany were quick to adopt Pop art shortly after its emergence in Britain and America in the 1960s. In contrast to the often sensationalist and glamorous vocabulary of their Anglo-American peers, artists such as Thomas Bayrle, Christa Dichgans, Konrad Klapheck, Ferdinand Kriwet, Uwe Lausen, Sigmar Polke and Gerhard Richter grappled with the banalities of everyday life in capitalist West Germany. German Pop reconstructs the four crucial centers of Pop art in Germany in the 1960s and early 1970s: Düsseldorf, Berlin, Munich and Frankfurt am Main. The catalogue brings together nearly 140 works of art and documentary materials by artists both established and lesser known.

Two artists, two generations, of rather differing provenanceSchirn Kunsthalle Frankfurt is dedicating a comprehensive exhibition to the surprising and hitherto largely overlooked connections in the work by Alberto Giacometti (1901–1966) and Bruce Nauman (* 1941). Drawings, photographs, videos, sculptures and large-scale installations by the US multimedia artist will enter into an exciting dialogue with selected sculptures and paintings by the Swiss sculptor. Both artists’ oeuvre revolves primarily around the image of man and the human condition; with reduced means of representation, they’re both looking to explore fundamental existential questions. The shattering directness of the works of art presents the viewer with a lasting challenge. Giacometti and Nauman share a procedural approach as well as subjects, such as the representation of emptiness, the relationship between figure and space, and the fragmented body. In a thematically landscaped layout, the exhibition brings together about 70 works, including numerous major works by both artists. The outcome of this juxtaposition is by no means foregone: Giacometti emerges as a pioneer of key developments in art after 1960, regaining his original radicalism, while Nauman’s outstanding importance as a sculptor becomes apparent, achieving an alternative historical significance. The exhibition does not endeavor to confirm or even endorse influences and overarching theories, but rather expands our perception of the work of two outstanding representatives of 20th and 21st century art.Exhibition: Schirn Kunsthalle Frankfurt, 28/10/2016–22/01/2017

This companion volume to a major exhibition of the work of Laszlo Moholy-Nagy highlights the extraordinary range of his prolific career. Throughout his career Moholy-Nagy produced brilliant works in painting, film, photography, sculpture, set design and typography. A leading proponent of the Bauhaus School, he strove to apply artistic principles to every aspect of daily life. This companion volume to a retrospective features 170 works from all phases of Moholy-Nagy's career. Essays on his involvement with the Bauhaus School; his late paintings; his photographs, photograms, and photosculptures; and his accomplishments in the field of graphic art are complemented by numerous color illustrations. The book also documents the reconstruction of a never completed work, The Room of Today, which incorporates the most important themes Moholy-Nagy brought to his art. Readers viewing his work for the first time, along with those already possessing a deep appreciation for his art, will celebrate this long-overdue volume.

Between 1947 and 1964 Joseph Beuys produced a swath of works on paper that, in their style, technique, and formal vocabulary, echo those of Auguste Rodin by way of his teacher and mentor, sculptor, Wilhelm Lehmbruck. Although Beuys's work remains very different from his predecessors', it does take up themes they had pursued, including the idea of the torso as an autonomous, enclosed form and of the fragment as the simplest and most elementary embodiment of immutability. This book sets Beuys's works on paper and sculptures opposite the works on paper and sculptures of Rodin and Lehmbruck, and finds both striking affinities and autonomy.

Two artists, two generations, of rather differing provenanceSchirn Kunsthalle Frankfurt is dedicating a comprehensive exhibition to the surprising and hitherto largely overlooked connections in the work by Alberto Giacometti (1901–1966) and Bruce Nauman (* 1941). Drawings, photographs, videos, sculptures and large-scale installations by the US multimedia artist will enter into an exciting dialogue with selected sculptures and paintings by the Swiss sculptor. Both artists’ oeuvre revolves primarily around the image of man and the human condition; with reduced means of representation, they’re both looking to explore fundamental existential questions. The shattering directness of the works of art presents the viewer with a lasting challenge. Giacometti and Nauman share a procedural approach as well as subjects, such as the representation of emptiness, the relationship between figure and space, and the fragmented body. In a thematically landscaped layout, the exhibition brings together about 70 works, including numerous major works by both artists. The outcome of this juxtaposition is by no means foregone: Giacometti emerges as a pioneer of key developments in art after 1960, regaining his original radicalism, while Nauman’s outstanding importance as a sculptor becomes apparent, achieving an alternative historical significance. The exhibition does not endeavor to confirm or even endorse influences and overarching theories, but rather expands our perception of the work of two outstanding representatives of 20th and 21st century art.Exhibition: Schirn Kunsthalle Frankfurt, 28/10/2016–22/01/2017

Jeff Koons (born 1955) is probably the most famous artist of the 1980s, and certainly one of the most notorious and controversial. In the summer of 2012, the Liebieghaus Skulpturensammlung and the Schirn Kunsthalle Frankfurt are collaborating on a bold and unprecedented simultaneous overview of Koons' sculptural and painterly oeuvre. The Liebieghaus show, titled Jeff Koons: The Sculptor, creates a dialogue between Koons' sculptures (both world-renowned and recent works) and the nineteenth-century villa whose collection spans 5,000 years of sculpture, from Ancient Egypt to the present. The artist fell in love with the Liebieghaus after visiting the city on his way to the German company Arnold, which produced his oversize works in polished steel, such as the Balloon Flower sculptures of the 1990s. The Schirn's exhibit, Jeff Koons: The Painter, focuses on the artist's monumental paintings, whose motifs draw upon the most varied sources of high and popular culture, from Manet to Popeye. In recent years, following the success of his flower and balloon dogs, Koons has revisited his painting practice, declaring, "I like the sense of warmth that comes from an actual painting and that's why I returned to making paintings." Boasting 270 color reproductions from the breadth of the artist's 30-year career, this publication is comprised of two volumes--one devoted to the sculptures, the other to the paintings--that together constitute a marvelous and ambitious Koons overview.

The book of the The World of Frida Kahlo exhibition at the Schirn Kunsthalle Frankfurt March 6 -May 23 1993 and Museum of Fine Atrs, Houston June 6 - August 29, 1993

The book of the The World of Frida Kahlo exhibition at the Schirn Kunsthalle Frankfurt March 6 -May 23 1993 and Museum of Fine Atrs, Houston June 6 - August 29, 1993

207 p. : ill. (chiefly col.) ; 32 cm. Notes: Catalog of the exhibition held at Schirn Kunsthalle, Frankfurt am Main, Aug. 18-Sept. 30, 2001, The Museum of Fine Arts, Houston, Jan. 20-Mar. 31, 2002, and Boca Raton Museum of Art, Boca Raton, Apr. 17-June 16, 2002.

In the last two years Daniel Richter has exposed himself to a process of renewal and the result is remarkably impressive in his new paintings. Published on the occasion of the exhibition at Schirn Kunsthalle Frankfurt, 9 October 2015 - 17 January 2016.