A Tale of Two Worlds. Experimentelle Kunst Lateinamerikas:der 1940er- bis 80er-Jahre im Dialog mit der Sammlung des MMK
At the heart of Shabby Chic is Rachel Ashwell´s unique take on characterful, time-worn, faded elegance underpinned with total comfort and a strong practical streak. In this inspiring book, published to mark twenty-five years of bringing her special brand of beauty, comfort and function to the global marketplace, Rachel shares with us the story of her life journey, the origins of her creativity, the ups and downs of running a business and a glorious abundance of fabulous Shabby Chic looks that range from the glamorously traditional to the pared-down and modern. The essence of Shabby Chic is a timeless, romantic and charming interior filled with beautifully worn and well-loved objects, a consistent palette of pales and pastels with captivating surprises, flowers in abundance and the promise of enveloping comfort. Celebrating the now-iconic Shabby Chicaesthetic, where beautiful objects, consigned to the flea market, are loved to live again, this book takes us to the heart of the enduring appeal of Ashwell´s creations. Going beyond home decoration, Shabby Chic has become a lifestyle and worldwide design movement. With more than 250 photographs, The World of Shabby Chic is a lavish, thorough and comprehensive volume arranged in three sections. ´´The Story of Shabby Chic´´ relates Rachel¹s journey from a bohemian London childhood via pioneering the washable slipcover to running a global business. ´´The Heart of Shabby Chic´´ explores her design values from furniture, fabrics and flowers to palette and patina. ´´The Looks of Shabby Chic´´ features a fabulous variety of interiors demonstrating the diversity and evolving visual vocabulary of the well-loved phenomenon that is Shabby Chic.
Otto Dix fought in the First World War for the better part of four years before becoming one of the most important artists of the Weimar era. Marked by the experience, he made monumental, difficult and powerful works about it. Whereas Dix has often been presented as a lone voice of reason and opposition in Germany between the wars, this book locates his work squarely in the mainstream of Weimar society. Informed by recent studies of collective remembrance, of camaraderie, and of the popular, working-class socialist groups that commemorated the war, this book takes Dix´s very public, monumental works out of the isolation of the artist´s studio and returns them to a context of public memorials, mass media depictions, and the communal search for meaning in the war. The author argues that Dix sought to establish a community of veterans through depictions of the war experience that used the soldier´s humorous, grotesque language of the trenches and that deliberately excluded women and other non-combatants. His depictions were preoccupied with heteronormativity in the context of intimate touch and tenderness between soldiers at the front and with sexual potency in the face of debilitating wounds suffered by others in the war.