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art book cologne GmbH & Co. KG
Deutzer Freiheit 107
50679 Köln
Germany
Opening hours (office and showroom):
Monday to Friday 8 – 17
info@artbookcologne.de
Phone: +49 221 800 80 80
Fax: +49 221 800 80 82
About us
art book cologne, founded by Bernd Detsch in 1997, is a wholesale company and specializes in buying and selling high quality publications in art, art theory, architecture, design, photography, illustrated cultural history and all related subjects internationally. Our team includes specialists in art, culture, music, book trade and media but in spite of our diversity we have one common ground: the enthusiasm for unique art books.
We purchase remaining stocks from museums, publishers and art institutions. We sell these remainders to bookstores, museum shops, and art dealers all over the world.
Aby Warburg – Lightning Symbol and Snake Dance
| Editor | Christine Chávez, Uwe Fleckner |
| Publisher | Hatje Cantz |
| Year | 2022 |
| Cover | Hardcover |
| Language | English |
| ISBN | 978-3-7757-5202-2 |
| Pages | 400 |
| Weight | 1789 g |
| More | |
| Contributors | Bruce Bernstein, Christine Chávez, Adam Duran et al. |
| Type of book | Exhib'publication |
| Museum / Place | Museum am Rothenbaum, Kulturen und Künste der Welt, Hamburg |
| Article ID | art-67272 |
The first presentation of Aby Warburg’s rarely seen Pueblo art collection, from his famous 1895–96 visit to the US!
In 1895, the great German art historian and theorist Aby Warburg (1866–1929) came to the US, where he spent the bulk of his time meeting with Indigenous Americans. The encounter produced two famous works: his 1923 lecture on the Hopi snake ritual, and a body of photographs―both of them much discussed by art historians. Almost unknown until now, however, was the collection of objects he acquired from Pueblo tribes throughout the American Southwest, which he later donated to the Museum fur Völkerkunde (today the Museum am Rothenbaum) in Hamburg.
Following Warburg's transdisciplinary approach, this substantial publication examines his guiding principles in assembling his collection, as well as his reading of Pueblo art and culture. The fascination of the Hopi snake ritual among Warburg’s contemporaries is highlighted, as is the reception history of the text. Also represented here are the views and strategies of Hopi officials, which have previously been neglected in this context, to regain cultural sovereignty.
