Lena Fritsch Knihy

The catalogue of the first exhibition by celebrated Sudanese artist Ibrahim El-Salahi held at the Ashmolean Museum in his hometown of Oxford.

Die fotografische Serie von Yasumasa Morimura zeigt ihn in der Verkleidung berühmter Filmschauspielerinnen und hinterfragt gängige Schönheitsideale sowie die Geschlechterrollen im Film. Lena Fritsch bietet einen einführenden Überblick über die japanische Kunstszene und analysiert drei Werke der Actress-Serie im Vergleich zu ihren filmischen Vorlagen. Sie beleuchtet, wie Morimura sich als Filmstar inszeniert und die zitierten Bilder transformiert. Darüber hinaus werden Identitätsfragen im Kontext der westlichen und japanischen Kulturgeschichte sowie postmodernen und traditionellen Theorien thematisiert.

This beautifully designed book accompanies the Ashmolean Museum's second exhibition of its new Ashmolean NOW series, featuring the work of Pio Abad. The book features a new text by Abad and contributions by art historical experts including Dan Hicks.

This book is an accessible and visually rich study of Japanese photography since 1945 by an experienced curator specializing in Japanese art and culture. This rich volume provides one of the first overviews of Japanese photography to be published in English. Drawing on extensive research, Lena Fritsch traces the development of Japanese photography chronologically, from the severity of post-war Realism to the diverse ingenuity of photography in contemporary Japan. Interspersed are fascinating original interviews with some of the most influential photographers of each era, including Daido Moriyama. Ravens and Red Lipstick offers a visually bold survey of Japanese photography’s recent history. Fritsch masterfully frames each movement with their business, education, and art-institutional backdrops—she shows the consumerism and intense political debates of 1960s and ’70s Japan, for example, to be central to the rough style of the “Provoke” artists. Fritsch’s great achievement is to bring observations from a range of disciplines to bear on her commentary with imagination and clarity. As a result, this comprehensively illustrated volume is both an accessible introduction and an illuminating work of analysis of Japanese photography since 1945.

This book examines the human body as a motif in Japanese photographic art of the 1990s, with particular reference to socio-cultural issues. Lena Fritsch analyses photographs by Ishiuchi Miyako, Izima Kaoru, Mori Mariko, Morimura Yasumasa, Yamanaka Manabu and Yanagi Miwa, focussing on problems of social and national identity, gender and religion. How could Morimura’s gender be defined in his „Portrait (Futago)“? What kind of ‘social codes’ are presented in Mori’s „Tea Ceremony III“? The examined works have all been presented in the ‘Western’ art world. By discussing ten images in a detailed and critical way, Fritsch’s monograph provides a counterbalance to the short and commercial texts of exhibition catalogues and magazines. Furthermore, it explores the Japanese context of the works, such as the historical foundations of art and photography in Japan, the structures of the 1990s art system, and the presence of Japanese photographs in a ‘Western’ art market. What is offered here has not been attempted before; there are few academic studies on Japanese photographs of the 1990s, let alone on their representations of the body. As both a ‘Western’ art historian and somebody whose personal history is influenced by the Japanese culture, Fritsch ‘interprets’ Japanese images to ‘Western’ readers. At the same time, she presents new viewpoints, which might also be interesting to a Japanese audience.

Showcases the work of internationally acclaimed German artist A. R.Penck (1939-2017). 2019 marks 80 years since his birth; it is also the 30-year- anniversary of the end of the Cold War.