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Paperback version. Schirmer/Mosel, Munich, 1989. . Binding: Softcover. Book Condition: Good Condition. Size: 4to - over 9¾" - 12" tall. Text is in German. Text unmarked. Light foxing to edges of text-block. Black & white photographs. Wraps lightly bumped and shelf worn at corners, edges and spine ends. Wraps lightly rubbed. Light scratching to front free endpage.

263 S., überw. Ill.; 31 cm, Papier-Einband stark bestossen, Schnitt leicht gebräunt, mit wenigen Leuchtmarker-Anstrichen im Text, insgesamt gutes Ex. Sprache: Deutsch Gewicht in Gramm: 2000

Printed in Germany. Former owners name inside front cover and slightly damaged spine edge

Sein starkes Interesse am aktiven Wettkampfsport und die Herausforderung den menschlichen Körper in Bewegung festzuhalten: Das waren die beiden Motive, die Neil Hermann zur Fotografie männlicher Körper führten. Neil Hermann ist selbst aktiver Sportler und nahm an internationalen Weltkämpfen in Judo und Wasserski teil. Seine körperbewuβte Arbeitsweise hat ihm in der Modefotografie besondere Anerkennung verschafft. Er arbeitet in den USA mit so bekanten Modellen wie Jerry Hall, Farrah Fawcwett und Linda Gray.

Featuring a selection of works from a distinguished private Munich collection, this small and elegant volume presents 35 of Cy Twombly’s most essential photographs. Published to accompany a studio exhibition at the Frieder Burda Museum in Baden-Baden it assembles the artist’s famous and favorite subjects: the interiors of the New York Fulton Street studio he shared with Robert Rauschenberg in the 1950s, his beloved peonies, interiors, landscapes in Lexington, Virginia, and Gaeta, Italy, and his sculpture and painting details. Lavishly printed and with an essay by art historian Helmut Friedel, the book offers a most poetic choice from Cy Twombly’s photographic oeuvre at an unmatched gift price.

The shutter clicks and Taubenheim takes us with him on an intimate journey into the silence of the wilderness, to lonely places and remote woods. Young men, entirely alone at long last, on a voyage of erotic discovery.

263 S., überw. sw-Fotos, Ln. mit OU, 4° (31 cm) Herausgegeben anlässlich der Ausstellung "Unterwegs auf der Axenstrasse 1911 - 1939. Photographien von Michael Aschwanden", Historisches Museum Luzern, 22. Januar - 31. August 2003. Sprache: deu

At the end of the 1970s, serious artistic photography was still generally thought to be made only in black-and-white--despite major examples to the contrary, such as William Eggleston's ground-breaking 1976 show at The Museum of Modern Art in New York. Joachim Brohm was among the first of a younger generation of Germans to discover in color photography new opportunities for self-expression. His Ohio photographs, made in 1983 and 1984 while he was living in the state as a student and Fulbright scholar, show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. As one commentator puts it, "Brohm's images seem strangely empty. Their centers seem to have fled; a surface has appeared in front of the camera's lens that surrounds the actual image." At the time, such mundane scenarios were considered unworthy of photographic documentation, but today this approach constitutes almost an entire genre of its own. This precocity of subject and the use of color photography make the Ohio series gathered here a significant milestone in the history of photography.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Star architect Helmut Jahn has been leaving his eyecatchingand distinctive mark on the world’s metro -polises since the 70s: from Chicago to Singapore andShanghai, from Frankfurt, Munich, and Berlin to LasVegas and Tokyo, his towers of glass and steel risespectacularly into the sky, dominating the townscapeand the skyline of the cities in which they stand.Multi-award winning photographer Rainer Viertlböckcaptures Helmut Jahn’s buildings with breathtakingprecision and suggestive power―the early designs inChicago and New York as well as the striking projectsthat Murphy/Jahn realized from the 90s around theworld: Chicago’s O’Hare Airport Terminal One Complex,425 and 750 Lexington Avenue in New York City,One and Two Liberty Place in Philadelphia, the VeerTowers in Las Vegas...A visually fascinating catalog of works by a brilliant architectand an equally brilliant photographer.

Z : 24 x 27,5 cm, 143 Seiten, zahlreiche Abbildungen, Hardcover mit Schutzumschlag - Binia Bill (1904 - 1988) hinterließ - ausser in der Zusammenarbeit mit ihrem Mann Max Bill - auch ein eigenständiges fotografisches Werk, das sich zu entdecken lohnt, aber nur wenigen bis vor kurzem bekannt war. Es entstand auf Reisen, in der Begegnung mit Künstlerfreunden aus dem engsten Kreis der Pioniere der Moderne und später im privaten Bereich. In ihren Stilleben, Portraits und Blumenbildern hat Binia Bill eine unverwechselbare Bilsprache entwickelt.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.54

Building facades, parking decks, stadium roofs, sauna chairs--the banality of Matthias Hoch's urban subject matter is belied by the intense artistry of his image-making. In Hoch's photographs, "a purism of color and form pursues things to abstraction, penetrating to the essence, the idea," writes critic Michael Stoeber, and the "essence" of these familiar surfaces of our everyday environment turns out far more sensual than one might expect. Lucidly composed, Hoch's photos position the objects and topographies of city existence with a keen, almost obsessive attention to surface quality and compositional format. The artist's unexpected choices of scale and perspective evoke puzzlement and ambiguity, making for a more but often less recognizable material source. But the city itself is never quite the subject: Be they in Paris or Brussels, Hoch's metropolises would be unknowable, if not for the fact that city name and caption are one and the same. Since his early experiments in the rapidly changing urban landscapes of eastern Germany, where he was a student in Leipzig, Hoch has been exploring the ubiquitous formal language of modern European urban development. In this collection of approximately 80 individual works, the views Hoch presents demonstrate a consistently analytical approach to the space that surrounds us and a simultaneous attention to its sculptural quality.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

bilingual edition. 95 pages. German language. 11.00x8.75x0.50 inches. In Stock.

23 x 27 cm Erste Auflage, 156 Seiten. Farbig illustrierter Originalpappband. Zahlreiche Abbildungen. makellos. Hinweis: Versandkosten müssen bei Auslandsversand evtl. angehoben werden.

Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Neuware - Im Jahr 1965 bot sich dem Fotografen Bodo Niederprüm die Gelegenheit, die legendäre Fluxus- Aktion »24 Stunden« in der Wuppertaler Galerie Parnass zu dokumentieren. Das sogenannte 24-Stunden-Happening fand am 5. Juni 1965 zu einer ungewöhnlichen Tageszeit statt: Es begann um Mitternacht und endete um 24 Uhr. In den dazwischen liegenden 24 Stunden verteilten sich die teilnehmenden Künstler und Künstlerinnen Joseph Beuys, Bazon Brock, Charlotte Moorman, Nam June Paik, Eckart Rahn, Thomas Schmit und Wolf Vostell in den verschiedenen Räumen der als Galerie genutzten Villa in der Moltkestr. 67, Wuppertal-Elberfeld, deren Grundriss auf dem Veranstaltungsplakat zu sehen war. Überall fanden rund um die Uhr verschiedene Aktionen statt. Der Galerist Rolf Jährling und die Fotografin Ute Klophaus, die das 24-Stunden-Happening aufnahm, wurden im Anschluss an dieses Happening von den Akteuren zu Mitautoren und Aktionsteilnehmern erklärt. Noch im selben Jahr erschien im Verlag Hansen & Hansen das Buchobjekt 24 Stunden.Bodo Niederprüms Fotografien waren bis vor kurzem vollkommen unbekannt. Ausstellungund Katalog zeigen das Happening erstmals aus seiner Perspektive. Zu sehen sind JosephBeuys, Wolf Vostell, Nam June Paik und Charlotte Moorman in Aktion, aber auch die Reaktionen der damaligen Ausstellungsbesucherinnen und -besucher der Galerie Parnaß.Mit Blick auf die historisch gewordenen und heutigen Rezeptionshaltungen wird das Verhältnis von Aktion und Dokumentation in der Fluxus-Bewegung ausgelotet.

Testi di Ute Eskildsen, Felix Hoffmann e Malte Zierenberg. Illustrato con fotografie in bianco e nero . 8vo (27x20 cm). pp. 268. . Perfetto (Mint). . Prima edizione (First Edition). . Fotografie 1919-1953 appare in occasione della prima retrospettiva al mondo del fotografo Willi Ruge a Berlino. Corse automobilistiche sull'AVUS, sbarco in alta montagna, rivolta di Spartacus, sommosse nell'Alta Slesia, autoritratto in caduta libera. Che sia un reporter di guerra o un artigliere, un regista commerciale o un imprenditore, Ruge fa parte di sconvolgimenti sociali ed è affascinato dalle possibilità tecniche della modernità all'inizio del XX secolo.Non è un osservatore silenzioso ai margini, ma al centro dell'azione. Spesso così al centro che lui stesso entra in scena come attore. Con questo atteggiamento, Ruge non solo riqualifica il ruolo e l'immagine del fotogiornalista, ma sostituisce la presentazione fattuale e oggettiva con esperienze soggettive, apparentemente puramente casuali. I suoi esperimenti visivi e le sue relazioni soddisfano il desiderio del pubblico di intrattenimento e catastrofi e, grazie alla loro prospettiva personale, offrono allo spettatore una vasta area di identificazione.Nella sua serie fotografica più famosa, si mostra in azioni spettacolari, con vedute estreme, vertiginose vedute dal basso, vedute oblique, orizzonti inclinati, enormi primi piani e prospettive straordinarie su ciò che sta accadendo rivelano le conquiste della Nuova Visione. Con Willi Ruge, la politica, il fascino per la tecnologia, la gioia della sperimentazione, l'ironia dell'immagine e la narrazione sono eterogenee fianco a fianco.