Verena Gamper Knihy

This book explores the connection between landscape and portraiture in Egon Schiele's art, emphasizing how plants and environments symbolize the human condition. It accompanies an exhibition at the Neue Galerie New York and features insights from experts on Schiele's landscapes, revealing their deeper meanings beyond mere subjects.

This catalogue brings together an assortment of artists who extend the medium of painting into post-Constructivist sculpture and installation. Participating artists include Sofie Thorsen, Michael Kienzer, Luisa Kasalicky, Gerwald Rockenschaub, Ernst Caramelle, Heinrich Dunst, Helga Philipp, Herbert Hinteregger, Peter Sandbichler, Esther Stocke and Ingo Nussbaumer.

The first ever examination of Wittgenstein as collector, author and arranger of photographsMore than any other modernist philosopher, Ludwig Wittgenstein (1889-1951) maintained a notably unusual relationship to photography. From an early age he took a particular liking to the medium and returned to it often, as both a practitioner and a collector. The first volume to appraise his relationship to photography, this book presents his famous and only partially published photo album from the 1930s; photographs of the house for Margarete Stonborough-Wittgenstein that he designed with Paul Engelmann; the composite portrait of the Wittgenstein siblings; excerpts from Wittgenstein's various photo booth pictures and famously staged self-portraits; excerpts from his "Nonsense Collection"; his serial photographic documentations of places and people; and a selection of his picture-postcard correspondences with family and friends.

At first sight, this may seem anachronistic, as we live in times marked by an almost iconoclastic storm of media images that reduces any visual material to the same level of meaning. With regard to the seemingly endless possibilities, however, the appropriation of artworks and thus of a relatively small and, moreover, extremely charged segment of image production, raises exciting questions, with a poignancy that would be impossible when it comes to the integration of non-art material. Like a magnifying glass, this enables a concentrated view of the various aspects of appropriation, providing both eloquent and insightful comments on the field of art and its systems of reference. In combining historic works of Appropriation Art, contemporary positions and works which partly yet have to be illuminated from this point of view, the art of appropriation is analyzed in its unique complexity.