Linda Dalrymple Henderson

Alexander Calder (1898-1976) was a radical inventor: an artist who discarded convention and disrupted hierarchies, overturning the traditional basis of culture while revolutionising the way people perceive and interact with art. Calder's 'new line' was not simply an evolution of forms and styles. From the start, it was quite clear to all who witnessed him at work that - in his way of drawing attention and gaining notoriety - he was doing something radically new. This catalogue shows how Calder's work emerged from expectations of change in American popular culture. Calder, who was initially attracted by the structure and functions of the circus, looked for alternative models to triumph over respectability, public decorum, and the ambitions of industry. The catalogue, with twelve essays from major contributors, will examine how Calder, among the first college-trained artists, found techniques and inspiration in many disciplines and their development: technology, engineering, architecture, physics, and astronomy, among others. All these contributed to the development of his wire sculptures, mobiles, and stabiles. More than 100 works and comparative illustrations will guide the reader through this innovative and unique path.

Hilma af Klints verk har tagit den internationella konstvärlden med storm, mer än hundra år sedan de första verken skapades. Kring det förra sekelskiftet påverkade ockulta religiösa rörelser som teosofi och antroposofi de tidiga modernisterna Kandinsky, Mondrian, Malevich och Hilma af Klint. Vilken tidsanda inspirerade en sådan plötslig artistisk utgjutelse? Denna antologi baseras på seminariet som hölls när Guggenheimmuseet i New York öppnade sin mycket omtalade och historiskt mest välbesökta utställning Hilma af Klint: Paintings for the Future i oktober 2018.

The long-awaited new edition of a groundbreaking work on the impact of alternative concepts of space on modern art. In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception-the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space-were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence. That iconoclastic idea encouraged radical innovation by a variety of early twentieth-century artists, ranging from French Cubists, Italian Futurists, and Marcel Duchamp, to Max Weber, Kazimir Malevich, and the artists of De Stijl and Surrealism. In an extensive new Reintroduction, Henderson surveys the impact of interest in higher dimensions of space in art and culture from the 1950s to 2000. Although largely eclipsed by relativity theory beginning in the 1920s, the spatial fourth dimension experienced a resurgence during the later 1950s and 1960s. In a remarkable turn of events, it has returned as an important theme in contemporary culture in the wake of the emergence in the 1980s of both string theory in physics (with its ten- or eleven-dimensional universes) and computer graphics. Henderson demonstrates the importance of this new conception of space for figures ranging from Buckminster Fuller, Robert Smithson, and the Park Place Gallery group in the 1960s to Tony Robbin and digital architect Marcos Novak.

A monograph devoted to the original Swedish artist and composer. This book is published on the occasion of the extensive solo exhibition by Christine Ödlund (the first large institutional presentation of her work in Sweden). Since the first solo exhibition at the alternative art space Ynglingagatan 1 in Stockholm in 1995, Ödlund has continued to create unique encounters between art, science and music. Her artistic practice includes a wide range of media including drawing, painting, sculpture, animation, installations with living plants, electroacoustic music, and more. Ödlund's artworks draw inspiration from fields such as theosophy, synesthesia and biology. For example, she has researched how plants, specifically stinging nettles, interact and communicate with one another at the Royal Institute of Technology's Department of Organic Chemistry in Stockholm. During the course of this exhibition, Ödlund will expand her study of sensory reactions, to a greater variety of plant species. The exhibition will present new sculptures, works on paper, and video works alongside large-scale site-specific installations with live plants that visitors will be able to step into. These various elements combine to create an all-encompassing experience. In what could be seen as a laboratory that cross-references science and esoteric knowledge, Ödlund opens up a holistic world where detailed studies of natural phenomena can be seen from very different perspectives.