Sam Falls
After Life

Logan T. Sibrel’s (born 1986 in Jasper, IN, lives and works in Brooklyn, NY) paintings and drawings depict moments of great joy and beauty, but also fear, sadness, desire and aggression. Frequently only part of the mostly male figures is depicted. Sibrel’s cropping can feel simultaneously intimate and alienating—fragmentary stories are told that touch you through their authenticity and vulnerability. Sibrel’s artistic maneuvers include overlapping, shifted perspectives, and text fragments that appear like snippets of overheard conversations and thus create a collage effect.

This book is the artist’s first comprehensive publication with works from the last twenty months. While the first part presents the artist’s paintings, the second part presents his drawings with the edges of the backing paper digitally removed so that it looks as if the images were drawn directly into the book.

Logan T. Sibrel completed his bachelor’s degree at Indiana University in Bloomington in 2009 and his master’s degree at Parsons New School of Design in New York in 2011. His most recent solo exhibitions include In Another Life and Galerie Thomas Fuchs (Stuttgart, DE) and Brake For Your Sweetheart at Auxier Kline (New York, NY).

An artist paints the Kaddish

In roughly 330 self-portraits, Marion Anna Simon (b. 1972, Bitburg; lives and works in Cologne) dares to undertake an unusual transcription of Jewish prayer as a sign of mourning. On January 7, 2017, one day after the death of her mother, Marion Anna Simon began work on her painted Kaddish. What initially began as a very personal process of grieving quickly developed into an artistic concept: Roughly 330 painted and drawn self-portraits were created within eleven months—in daily notes, with acrylic and watercolor, pencil and ballpoint pen, oil crayon and pastel, on paper and canvas, wallpaper and cardboard, in lined exercise books and cheap notepads. Marion Anna Simon’s cycle explores her own face as a place of mourning and self-affirmation, documenting an artistic ritual beyond the Jewish prohibition of images and patriarchal attributions to sons in the tradition of the sanctification prayer for the memory of the dead.

A Painter, Draftsman, and Draftsman of Concrete Art

Paul Uwe Dreyer (b. 1939, Osnabrück; d. 2008, Stuttgart) taught painting as a professor at the Staatliche Akademie der Bildenden Künste Stuttgart for more than three decades. His oeuvre shows the hallmarks of geometric constructive art: inspired by subjective experiences of reality, Dreyer’s compositions visualize the dialectics of organizing principles and their potentials for variation, a guiding interest that is already evident in his early work since the 1960s and especially in the pairs and series of pictures he begins creating in the early 1970s. His art unfolds a fascinatingly dynamic yet nonhierarchical dialogue between colors, surfaces, and lines. The chronological catalogue raisonné reveals the consistency with which motifs evolve from his early to his late oeuvre, from architectural, figural, and ornamental tokens through elements resembling symbols and icons to complex penetrations of spaces.