Works in the screening
PRESENCE OF MIND (IMAGING), 2011
AM ALIVE (INTERFACE), 2011
RE: I AM ALIVE (INTERFACE), 2012
 
For further details on the screening program please check the upcoming information on our website www.cruisecallas.com

For further details on the screening program please check the upcoming information on our website www.cruisecallas.com

For further details on the screening program please check the upcoming information on our website www.cruisecallas.com

Annabelle Craven-Jones:
AFFECTIVE AUTO STREAM (LIVE CONSCIOUNESS), 2012
SOMEWHERE THERE IS THE SOUND OF SOMEONE THINKING
IN A WOOD (GREY NOISE INVERSE), 2012
PURE GREY LATITUDE SYNDROME (NORDIC), 2012
 
For further details on the screening program please check the upcoming information on our website www.cruisecallas.com

Alexandra Hopf:
Miami Noir, 2012
Illucid Cinema, 2010
...oder sollte dies eine unbekannte Mauer sein?, 2008/2009
 
For further details on the screening program please check the upcoming information on our website www.cruisecallas.com

ALINA SZAPOCZNIKOW / ANNETTE MESSAGER: Nördlich der Zukunft / North of the Future is the second exhibition at the Galerie Isabella Czarnowska in Berlin to relate two artistic oeuvres to one another. Like the earlier show (PAUL THEK / LUC TUYMANS: Why?!), North of the Future also pursues the aim of seeking out hidden or secret – and often surprising – links between the artists chosen and shedding light on them. In the first as well as the present exhibition, the work of an older artist is juxtaposed with that of a younger colleague, while at the same time a completed oeuvre is placed side by side with one in progress; in both cases, the artists contrasted are of the same gender. On the other hand, in neither case does the one oeuvre draw on the other or invoke something foreign to itself. Each is entirely and profoundly individual. Both artists, however, make reference to a superordinate intellectual or philosophical factor which indicates a common ethos.
 
North of the Future juxtaposes two women who address the problem of the self in different ways. Szapocznikow investigated the self by analyzing female sexuality, which she did in an a classical sculptural process (Samogłoska / Vowel), but also through the fragmentation of her own body – which the public encounters in multiplied, fragmented, sometimes lacerated polyester casts, sometimes combined with elements of the hard, “exterior” world of technology (Sprzątaczka / Cleaning Lady), and sometimes engulfed in “alien black matter” (La Ronde / The Round) –, through the confrontation of a woman‘s body with the quintessence of masculinity, the phallus, which could compete with César’s Thumb, whose functional original version it essentially represents (Fiancée folle blanche / Crazy White Fiancée), or through the body, which is ultimately crushed, pressed like a flower kept between the pages of a book as a memento (L´Herbier / The Herbarium). Scarred by the trauma of the Holocaust and fatal illness, Szapocznikow turned to biology with extraordinary generosity and an unusual sense of humour, and conceived of the body as a vessel of life of which only a dead shell can remain.
 
As Julia Kristeva expressed it, Annette Messager “travels her self” (“je me voyage”) by providing insight into the elements which furnish her imagination – determined, as it is, by culture and gender. She seems to rise “above the body” by having us communicate with objects and fabrics bearing the marks of a trivial female signifier. She ushers us into the world of the flea market overflowing with rummage, where you can buy old cuddly toys, new artificial hair wigs and thousands of other things that already have their “first lives” behind them. Kristeva calls Messager “a collector who has fun making people laugh while at the same time scaring them”. One might add that the artist treats above all herself to these two experiences when she undertakes operations on used objects (Sacs plastiques echévelés) or toys (6 Dissections as well as the recent Trois fusils). What we have here, however, is not the “diary” of a journey taken by the artist into her self. Instead, we wander with her through bloody visions of chaos, desire and unexploited “chances”, encounter impermanent cathedrals of femininity immersed in mourning (Mes voeux sous filet) and end up in the vicinity of a non-existent hotel (Hotel/Fiction).
 
When we contemplate the works of the two artists, we gain the impression that Messager is responding to a vanitas depiction developed by Szapocznikow, the motif of the medieval Dance of Death, which is characterized by black humour and the grotesque. In the case of Szapocznikow the roundelay is articulated by body parts, former sources of earthly pleasure meanwhile separated from one another; in the case of Messager, by objects robbed of their function and out searching “in the beyond” for amends for the degradation they suffered “in their first life”. Yet whereas Szapocznikow offers us knowledge of her self by way of the pars pro toto of a purely biological femininity condemned to destruction and decay, Messager invites us into Dante‘s purgatory to experience the phantoms of existence we have called to life, and the visions of hell we carry within ourselves. Kristeva compares the process of the artist’s self-journey with the migration through the belly of the Biblical whale. If we look to the story of Jonah, the belly can be seen as a prefiguration of purgatory. Here it should be added, however, that Annette Messager's whale is female.
 
The attention both artists pay to gender identity and its physiological, social and cultural implications does not repress the universal message, namely the revelation of that which is awkward, covered up and kept secret and which ordinary perception factors out with the aid of the hypocritical idea of the “well-regulated world order”. This general message also permeates the work of Paul Thek and Luc Tuymans.
 
What we essentially have here is a single, temporally unfolding exhibition of four artists. When we analyze its second manifestation, we are advised to recall the first, because this memory will enrich our impressions and deepen our reflections.
 
Anda Rottenberg

PETER SAUL: NEPTUNE AND THE OCTOPUS PAINTER
26 APRIL THROUGH 29 JUNE 2013
 
VW (VeneKlasen/Werner) is pleased to present Neptune and the Octopus Painter, an exhibition of new works by Peter Saul. Saul is a vital and polarizing figure in post-war American art, a rare history painter whose ambivalent politics and lurid imagery make him difficult to categorize. He remains outside the canon yet continues to exert profound influence on younger generations of artists.
 
Peter Saul was born in San Francisco in 1934. Following his studies at both the California School of Fine Arts and Washington University, St. Louis, Saul settled in Paris for six years. It was there, in the late 1950s, that his influences and obsessions - Mad magazine, 19th century academic French painting, Paul Cadmus and Rosa Bonheur - coupled with his total disbelief in the Existentialist artspeak of the time crystallized into a unique style. Saul‘s paintings of common household objects, rendered with an intense palette and a gesture reminiscent of Abstract Expressionism, clearly anticipated Pop Art, a movement that would not emerge as such until 1962. His work rapidly progressed from quasi-abstract pictures of iceboxes and so-called ’pop‘ imagery to a caustic and unflinching take on contemporary history painting. Embracing humor, irony and the grotesque at a time when painting was supposed to be deadly serious, Saul’s work did not fit anywhere easily. In 1967, Saul said, “Not to be shocking means to agree to be furniture”, and it is with this attitude that he continues to satirize the political, social and cultural events of his time.
 
Neptune and the Octopus Painter features new large-scale works on canvas and a selection of recent works on paper, a body of work created during the past two years. Drawing as much on the imagery of Walt Disney as on traditions of classical painting, Saul's recent works again look to genres of history and self-portraiture, dissecting to humorous, gruesome and deliberately offensive effect, a range of subjects and attitudes.
 
Peter Saul presented his debut solo exhibition in Chicago in 1961 and has exhibited his work internationally since that time. His most recent solo museum exhibition was presented last year at Fondation Salomon, Alex, France. His works are found in numerous museum collections worldwide, including Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; Centre Pompidou, Paris; Los Angeles County Museum of Art; Moderna Museet, Stockholm; Museum Ludwig, Cologne; and Stedelijk Museum, Amsterdam. Peter Saul lives and works in New York.
 
Peter Saul: Neptune and the Octopus Painter opens on Friday 26 April from 18:00 to 21:00. Gallery hours are Tuesday through Saturday, 11AM to 6PM. Please call the gallery or visit vwberlin.com for more information.

For Gallery Weekend Berlin, Moeller Fine Art is pleased to announce two complementary exhibitions: “Lyonel Feininger: Drawn from Nature, Carved in Wood” and “T. Lux Feininger: Sixty Years of Painting” to run 27 April – 13 July, with an opening reception 26 April, 6 – 9pm. Gallery Weekend hours are 11am – 7pm, 27 – 28 April. Together, the exhibitions explore the work of father and son Lyonel and T. Lux Feininger in various media, tracing their development over nearly a century.
 
The rapid sketch from life, or “nature study,” as Lyonel Feininger (1871-1956) called it, was the starting point for most of the artist’s work, which he later refined in his studio. Motifs, initially captured in nature studies, recur in Lyonel Feininger’s œuvre with extraordinary frequency, as T. Lux (1910-2011), his youngest son, wrote: “[they] consisted of the re-casting and re-drawing of a given composition, abandoning it and then taking it up again a day or a year or twenty-five years after, in any and all of the media.”
 
Lyonel Feininger freely translated such motifs; nature studies led to woodcuts and drawings, and woodcuts, in turn, even inspired paintings. Moeller Fine Art’s exhibition brings together more than 50 woodcuts from the artist’s personal collection, as well as related nature studies created between 1911 and 1920. Highlights include a rare painting, Chapel in the Woods, 1943, in which Feininger effectively recreates a woodblock print in oil on canvas. Lyonel Feininger also transposed such visual motifs into three dimensions, as in City at the Edge of the World, a group of 68 carved and painted figures and houses which were kept by the artist’s family, as well as in model trains he designed in 1913/14 and intended for mass production. These works feature many of the same elements found in his paintings and drawings, liberally reinterpreted in other media.
 
The work of T. Lux Feininger shows a fluidity similar to that of his father, yet expressed in his own inimitable visual language. T. Lux took up painting in 1929, while studying at the Bauhaus in Dessau with Josef Albers, Wassily Kandinsky, Paul Klee, Laszlo Moholy-Nagy, and Oskar Schlemmer. His paintings of the 1930s, such as Ship in the Gulf of Siam, 1931, often depict maritime subjects, not unlike those favored by his father. Later paintings of the 1970s and 1980s, such as Mentone, 1976, however, are characterized by a stencil-like surface on which graphic planes of color are layered. The 16 paintings in Moeller Fine Art’s exhibition, ranging from 1931 to 1991, display the variety and unmistakable treatment of form which T. Lux Feininger employed in his work.
 
The exhibitions of Lyonel and T. Lux Feininger are a collaboration between Moeller Fine Art New York – Berlin and The Lyonel Feininger Project LLC.
 
For further information, please contact the gallery at +49 (0) 30 252 940 83 or via email at mail@moellerfineart.com. Moeller Fine Art Berlin is located at Tempelhofer Ufer 11 in Berlin-Kreuzberg. Opening hours are from Tuesday to Friday, 11am to 6pm, Saturday, 12am to 5pm, and during Gallery Weekend Berlin, on 27 – 28 April, 11am to 7pm. The closest U-Bahn stops are Hallesches Tor (U6) or Möckernbrücke (U7/U1). For further information on Gallery Weekend Berlin, please visit www.gallery-weekend-berlin.de.

BROKEN ROMANCE is the first solo exhibition by the artist Martin Mannig in the Berlin gallery Gebr. Lehmann.
The canvases of the Dresden based artist are heady image spaces that are opening up to visual chaos. In a colour intensive mash up, elements of German and Japanese folk art are being mixed with those of American comic and Japanese manga and are put in their own visual context. Figures taken from TV series, dolls and toys become models of Martin Manning’s figure cabinet.
Prior the figures are being developed as drafts. In a variety of variations the artist gets from figure studies to results, which then move on to the stock of his figure cosmos and thus receive their right to exist in his paintings.
Within a time consuming work process the artist combines several of those figures on canvas. The bodies and heads of his characters are matched up in a bizarre fashion and seem like painted collages. The figures are alienated and break out of their former contexts and thus mutate to some extent. In various layers the figures have to assert themselves within the composition – they are over painted, replaced and over layered by other figures and image elements. Thus a visual density develops within which the mutated monsters and comic characters drop into a narrative context via the various layers of the image and tell stories. Thereby the virtual romance or the innocence of the figures is overstressed and breaks.
The reason for the occupation with Japanese popular culture as a central topic in the artist’s new works are stays and journeys to Japan – especially in the year 2011, shortly after the Tsunami and after the nuclear catastrophe in Fukushima. There the artist was directly confronted with the destructive effects of the natural catastrophe and the radioactive danger from Fukushima but also with the social and political belittlement of those problems.
For further information or images please contact us at berlin@galerie-gebr-lehmann.de Opening hours: tue - sat, 11 am - 6 pm

ZAK | BRANICKA Gallery is pleased to present “the weight of 8”, our first exhibition of Marlena Kudlicka‘s work. Specially prepared for the gallery space, the artist has created an installation consisting of three objects along with a narrative, the key to which is the title of the exhibit. “The weight of 8” is a description of the relationship between space and language. The artist says that “Letters and words serve to describe a space, while numbers do the same for its measurements. Words are not, however, capable of precisely expressing something, as they constitute a subjective evaluation, yet numbers code precision. I join both forms in a new language.”
 
The first component of “the weight of 8” is an installation constructed of metal letters and numbers. It looks like a piece of DIN A4 paper that has been proportionally enlarged to fit the height of the display space, but, due to a coding error, all of the characters have been garbled, creating an abstract visual composition. The second component is a hanging sculpture that was created based on the exact measurements of the dimensions of the gallery. It is a kind of abstract “algorithm” that visualizes mathematical operations, without describing them with characters or numbers. The sculpture is made of metal elements of varying thickness and is based on the principle of counterpoint: the weight of some elements is distributed to the exterior with the help of other elements. The steel object that connects the first two components has two meanings. The first comes from mathematics (statistical calculations), as the object has the shape of an enlarged I-beam, the load bearing construction element that was introduced into architecture by Mies van der Rohe. The second meaning comes from language: the cross section of the object is simply a large letter “I” and it carries specific semantic meanings: in Polish it means “and”; in English “I”; and it is also the Roman numeral 1.
 
All of the pieces of the installation are based on the relationship between letters, numbers, and punctuation, as well as matter and its weight. Everything is important here, including the thickness and type of materials, and the finish. Even the color is derived from mathematical calculations. So, what does the “eight” in the title weigh (estimated visually), and what is its color? In order to calculate them, it is enough to read the title-equation out loud: the letter “w” is present in the first word, but not the second. A proportion of 50% black to 50% white gives us the gray.
 
Kudlicka is particularly interested in the relationship between precision and error: her sculptures are made with a jeweler’s precision, but at the same time an error is factored into the process of their creation. This relationship leads to a balance—the main theme of the exhibition—not only between, for example, numbers and the written word, or dimensions and color, but also the balance of weights. Her sculptures are based on statistical calculations, which is why they seem to float on air, and why we doubt the force of gravity when looking at them, or walk around them on tiptoes.
 
Kudlicka‘s work follows in the tradition of constructivist art. Just as Katarzyna Kobro, the forerunner of Polish avant-garde art, she also derives her sculptures from architecture. Kudlicka says that “In this project I refer to the peripheral areas of architecture, as well as to the construction process. My inspiration was a trip to Beirut and the suburbs of Cairo, but also the 1970s in my native Poland, where, in a situation of constant systemic political change, temporariness and a lack of stability were a permanent part of architecture. Most often this was a result of improvisation and limited access to building materials; so this whole temporary architecture became a ’monument of errors.‘ In illegally erected buildings, construction elements that leaned on each other were balanced in accordance with the principle of counterpoint. Of course this was all inevitably predestined to be fragile, and this interested me the most. In what way does fragility activate a space? Does it play a primary or secondary role? Why are certain places felt to be weak points, or can fragility, perhaps, be seen as a temporary state between instability and scarcity on the one hand, and effectiveness and function on the other?”
 
Language is also a key element in Kudlicka’s work; the title is always an integral part of her art. Friedrich Meschede writes that “Focusing on the title reveals a crucial core of Marlena Kudlicka’s work. She refers to concrete poetry, a term that can be ascribed to both literature and the fine arts, which transforms the flowing transitions between the medium of language, its visualization using letters as a pictorial form, and sounds as concepts of rhythm into a complex system. The rigid guidelines of grammar turn into a new order through a playful disregard of grammatical regularity. The combinatorics of opposites, and elements that would not initially be thought of as going together, is the technique of collage used for concrete poetry. The vocabulary of construction creates the surprise.”

Horst Antes is one of the most internationally significant figurative artists of recent decades. Like few other German artists he has contributed to the global artistic debate. He has been represented at the Documenta in Kassel on three occasions. He has also exhibited at the Biennales in Venice and Sao Paolo. His works have also been seen in all the major European, American and Japanese museums and collections.
 
The exhibition in the Martin-Gropius-Bau will focus on his painting work, covering all his creative phases over a period of five decades – from casual beginnings circa 1958 to the spectacularly large and austere in-house images of the last phase. The show in the Martin-Gropius-Bau will be the first major one-man exhibition of the paintings in nearly two decades. About 90 pictures will be on display. They will be supplemented by other works closely bound up with his painting oeuvre: two sculptures, four “votive” images, and some books and portfolios designed by Horst Antes.
 
Not only the many loans from abroad and pictures from the artist’s own collection that are being shown publicly for the first time will make this exhibition unique. It will also be remarkable for highlighting the great contribution made by Horst Antes to the history of 20th century art and leave an indelible mark in the visitor’s memory.
 
The spacious entry hall will introduce all the motifs of Horst Antes’ painting – preparing the eye for what is to come. Every iconographical theme is conspicuously presented, prior to being elaborated in the subsequent halls. We begin with the brightly coloured action painting of the late 1950s. This is followed by the red pictures (“The Red Majas”) of enormous intensity and archaic eroticism. A larger category of works is ushered in with the emergence of the “Kopffüssler” (lit. “Head-Footer”), that artificial figure that was about to make a triumphal entry into the whole world of art. Another hall brings together pictures that are directly connected with the artist’s adopted country, Italy: whether through the Masters of the Renaissance, the gentle landscape between Florence and Siena, or the clear light of Tuscany. The next thematic category is the religiosity of the artist who – as a collector – has always shown a passionate interest in the magic origins of religions. For the first time two sets of motifs – one associated with Christianity (the tools of the crucifixion, stigmata) and the other with the beliefs and rituals of the Hopi Indians (rain, serpent, tablets) – are brought together. The final halls document the turning point in the work of Horst Antes who – after the Falkland War – turned his back on the figure he had invented in favour of new themes – windows, boats, date pictures – and especially the house. In the final hall eight very large, mostly black “house” pictures make an overwhelming impression with their austere idiom and massive presence. The “house” figure has replaced the human figure and stands for the whole of humanity and its thoughts.
 
The exhibition in the Martin-Gropius-Bau will offer an opportunity to rediscover and re-evaluate the complex oeuvre of Horst Antes.
 
Biography
 
Horst Antes was born in Heppenheim in 1936 and has lived in Sicellino, Karlsruhe and Berlin. His teacher at the Academy in Karlsruhe was H.A.P. Grieshaber. In the abstraction versus figuration debate of the late 1950s Horst Antes was quick to combine action colour compositions with figurative elements. The 1960s saw the emergence of the “Kopffüssler” figure, since when his work has enjoyed worldwide renown. In 1982, under the influence of the Falkland War, the first stencil figures appeared. In 1987 Horst Antes began the series of “window” and “house” pictures. At the same time he produced numerous large-scale sculptures that were set up in public spaces in Düsseldorf, Salzburg, Stuttgart, Vienna and Mainz.
 
Antes took part in Documenta III (1964), IV (1968) and VI (1977) and had one-man exhibitions in New York’s Guggenheim Museum (1984), in the Sprengel Museum, Hanover (2002), in the Kunsthalle, Würth (2006), and in various Japanese museums. He won the UNESCO Prize for Painting at the Venice Biennale (1966), the Marzotto-Europe Prize for Painting (1968), the Grand Prix of the Sao Paolo Biennale (1991), and the Culture Prize of the State of Hesse (1991).
 
A catalogue will be published by Verlag der Buchhandlung König.

Anish Kapoor is one of the most important of the world’s contemporary artists. Since his first sculptures – simple forms with paint pigments spread out on the floor – Kapoor has developed a multi-faceted oeuvre using various materials, such as stone, steel, glass, wax, PVC skins and high-tech material. In his objects, sculptures and installations the boundaries between painting and sculpture become blurred. For his first major exhibition in Berlin he will use the whole of the ground floor of the Martin-Gropius-Bau, including the magnificent atrium. Some of the works will have been specially designed for this venue. The show, comprising about 70 works, will provide a survey of the abstract poetic work of this winner of the Turner Prize from 1982 to the present.
 
Born in Mumbai in 1954, Kapoor is among the most prominent representatives of British sculpture. He came to London in 1973 to study sculpture at the Hornsey College of Art and has lived and worked there ever since. At that time Hornsey was the most radical of London’s art colleges and the one most open to the Marcuse-inspired revolutions that swept the student movements. In 1990 he represented the UK at the Venice Biennale where he was awarded the coveted prize “Premio 2000” by the International Jury. In 1991 he received the prestigious Turner Prize. Since the early 1980s his works – many of which have won further awards – have been exhibited worldwide.
 
What is characteristic of Kapoor’s work is his unlimited ability to constantly reinvent the language of art, both in its monumental and in its intimate dimensions, and the many dualities which come to light in his search for aesthetic effects both in perfection and in chaos. His creations are made of natural and artificial materials. They serve Kapoor’s endlessly inventive and suggestive pursuit of abstract metaphor. Some of the works to be shown in the exhibition in the Martin-Gropius-Bau are described briefly below:
The use of paint pigments has been a regular feature of Kapoor’s work since the 1970s. In “White Sand, Red Millet, Many Flowers” (1982), for example, he draws inspiration from the land of his birth: India. Objects reminiscent of the decorative elements in Indian temples or Buddhist stupas have been covered with thick layers of gleaming pigment powder in red, yellow and black.
 
In the late 1980s Kapoor worked with stone. “Wound” is a product of this period: Kapoor has cut a gash in the inner faces of two stones and filled it with deep red pigment. The gash continues along the front of the wall where the stones come together to form a V. The deep red colour emphasizes the organic element. The title of the work calls up numerous images before our inner eye and points to an interpretation.
 
In Anish Kapoor’s universe there are many black holes. One of the highlights of documenta IX was Kapoor’s room “Descent into Limbo” (1992): In the middle of a walk-in cube a seemingly bottomless black hole opened up in the floor and literally dragged the viewer into itself. A new version of this work will be found in the Martin-Gropius-Bau.
 
Kapoor’s concave or convex mirror structures stand the world on its head. In the reflection of the brightly polished surfaces the viewer sees a distorted vision of himself and the room. The gleaming high-grade steel mirrors causes the natural order of time and space to fall apart, and the viewer is left to fend for himself. In “Vertigo” (2008) several perspectives appear simultaneously in one reflection. The visitor sees himself in close-up as though through a spectacle lens and at the same time from a great distance. What all his mirror objects have in common is a play with perception. Despite their minimalism they never seem to be hermetically sealed, but open and accessible. They invite the viewer to enter a modern wonderland, thus making him an actor.
 
When he comes to Kapoor’s wax works the persevering viewer will find himself observing a perpetually changing object. Because of its malleability wax lends itself to designing spontaneous ideas for sculptures and has long been used in sculpture for modelling designs, making impressions, and casting moulds. Kapoor divests the material of its pallor and places it at the centre of his sculptural idea.
 
Kapoor does not fit into any ready-made category. It is typical of him that each newly created work redefines the relationship between painting, sculpture and architecture. For the atrium of the exhibition gallery, which is built in Neorenaissance style, Kapoor is designing a new sculpture whose form and materiality will only be revealed at the opening. It will be in the tradition of El Lissitzky, the great Russian Constructivist, who, together with Malevich, worked among other things on the famous production of the opera “Victory over the Sun”. In “Proun” (the Russian abbreviation of “Project for the Affirmation of the New”) El Lissitzky invented a new world which he himself described as a “way station on the road from painting to architecture”.

On the occasion of the six-year anniversary of the Arthur de Ganay Collection, recent acquisitions will be exhibited in a new context with works from the existing collection. Thus, with two works from Thomas Ruff's ma.r.s series - authorless NASA satellite images of the planet Mars which have been artistically manipulated – the scope of the photographic art is expanded considerably.
 
A new ensemble on the theme of abandoned places will be shown with works by Sarah Schönfeld, Laurenz Berges and Götz Diergarten. These works are drawn from a younger generation of fine art photographers who uphold the traditions of conventional photography while exploring new motives to achieve a markedly modern form of melancholy. A work from the In The Night series by artist Susanne Schuricht uses consistent abstraction and reduction of formal means stripped to their essence not to imitate reality, but rather to point beyond it. The landscapes of Elger Esser, the images of the Paris Opera by Candida Höfer, the interior photographs of Cologne Cathedral by Thomas Struth and the architectural shots by Hiroshi Sugimoto form further ensembles which are already considered classics of the collection.