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Max Bill (1908-1994), a key figure of modernism in his native Switzerland and internationally, was a true renaissance man. Equally accomplished as a painter, sculptor, graphic and product designer, and architect, he was also an eminent theorist and educator, curator, and prolific publicist. Moreover, he engaged in Swiss politics and was an activist both in Switzerland and abroad. Throughout his career he connected with fellow artists and other leading figures of modernism, maintaining a lifelong and worldwide artistic and political dialogue. This book, published in conjunction with a major exhibition at Zentrum Paul Klee in Bern, Switzerland, takes a fresh look both at Bill’s remarkable achievements across his diverse fields of creative activity and at his international network, highlighting his contribution to art and society as a whole. Max Bill Global features some 120 of Bill’s own works in all disciplines and a selection of his designed products that went into industrial production, as well as work by some of his artist friends. Published alongside are topical essays investigating Bill’s interaction and networking with fellow artists in Dessau, Paris, Zurich, Sao Paulo, Buenos Aires, and New York.

Peinture --- Sculpture --- Design --- Architecture

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Over the course of her protean career, Meret Oppenheim produced witty, unconventional bodies of work that defy neat categorizations of medium, style and subject matter. "Nobody will give you freedom," she stated in 1975, "you have to take it." Her freewheeling, subversively humorous approach modeled a dynamic artistic practice in constant flux, yet held together by the singularity and force of her creative vision. Published in conjunction with the first ever major transatlantic Meret Oppenheim retrospective, and the first in the United States in over 25 years, this publication surveys work from the radically open Swiss artist's precocious debut in 1930s Paris, the period during which her notorious fur-lined Object in MoMA's collection was made, through her post-World War II artistic development, which included engagements with international Pop, Nouveau Réalisme and Conceptual art, and up to her death in 1985. Essays by curators from the Kunstmuseum Bern, the Menil Collection and the Museum of Modern Art critically examine the artist's wide-ranging, wildly imaginative body of work, and her active role in shaping the narrative of her life and art, providing the context for her creative production pre- and post-World War II.

Surrealism --- Superrealism --- Surrealism in art --- Arts, Modern --- Oppenheim, Meret, --- Exhibitions --- Sculpture --- Painting --- collages [visual works] --- drawings [visual works] --- objects --- Oppenheim, Meret --- Art, Swiss --- Drawing, Swiss --- Painting, Swiss --- Sculpture, Swiss --- Surréalisme --- Catalogues d'exposition --- Beeldende kunst ; 1ste helft 20ste eeuw ; dadaïsme en surrealisme --- Beeldhouwkunst ; surreële objecten --- Kunst; Duitsland; Meret Elisabeth Oppenheim (1913-1985) --- Beeldhouwkunst ; Duitsland ; 20ste eeuw --- Surrealisme --- Dadaïsme --- Beeldende kunst ; Duitsland ; 20ste eeuw --- Oppenheim, Meret 1913-1985 (°Berlijn, Duitsland) --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z

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Sculpture --- Painting --- Photography --- Film --- Kunstmuseum [Basel]

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dieren --- Klee, Paul

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Dubuffet, Jean --- Dubuffet, Jean.