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Works from the past and present are exhibited at the Hamburg Kunsthalle, also famous for its temporary exhibitions.

On August 31, 2013, for the opening of Wade Guyton's exhibition at Kunsthalle Zu?rich, Blondes, James Campbell and I.U.D. each performed in front of one Guyton's expansive canvases. This 4 LP vinyl record acts as a catalog for the four gallery exhibition with a double gatefold that unfolds to present a model of the installation. Each record contains one performance from the night, and corresponds directly to the painting in front of which the performance took place. Filled with organic grow

An examination of a major 1992 installation by a pioneer of site-specific experimentation.Michael Asher (born in 1943), one of the foremost installation artists of the Conceptual art period, is a founder of site-specific practice. Considered a progenitor of institutional critique, he spearheaded the creation of artworks imbued with a self-conscious awareness of their dependence on the conditions of their exhibition context.In the work Kunsthalle Bern 1992, Asher removed the radiators from all the museum's exhibition spaces and reassembled them in its entryway gallery. Metal pipes connected the relocated radiators to their original sockets; these tubular conduits, coursing in linear fashion along the Kunsthalle's walls, kept the steam heat flowing and endowed the installation with directional lines of force. This “displacement of givens” offers a perfect example of site-specific practice, one that took the gallery space and the institution itself as its subject. In this detailed examination of Kunsthalle Bern 1992, Anne Rorimer considers the work in the context of Asher's ongoing desire to fuse art with the material, economic, and social conditions of institutional presentation.Rorimer analyzes Kunsthalle Bern 1992 in relation to the earlier innovations of such minimalist artists as Donald Judd, Carl Andre, Robert Morris, Sol LeWitt, Bruce Nauman, and Dan Flavin as well as to such conceptualist contemporaries as Daniel Buren, Dan Graham, and Maria Nordman. She also considers the installation in the context of other works by Asher that have used non-art, functional elements, including walls, or that have investigated museological issues.

Artists in the still-young Federal Republic of Germany were quick to adopt Pop art shortly after its emergence in Britain and America in the 1960s. In contrast to the often sensationalist and glamorous vocabulary of their Anglo-American peers, artists such as Thomas Bayrle, Christa Dichgans, Konrad Klapheck, Ferdinand Kriwet, Uwe Lausen, Sigmar Polke and Gerhard Richter grappled with the banalities of everyday life in capitalist West Germany. German Pop reconstructs the four crucial centers of Pop art in Germany in the 1960s and early 1970s: Düsseldorf, Berlin, Munich and Frankfurt am Main. The catalogue brings together nearly 140 works of art and documentary materials by artists both established and lesser known.

Two artists, two generations, of rather differing provenanceSchirn Kunsthalle Frankfurt is dedicating a comprehensive exhibition to the surprising and hitherto largely overlooked connections in the work by Alberto Giacometti (1901–1966) and Bruce Nauman (* 1941). Drawings, photographs, videos, sculptures and large-scale installations by the US multimedia artist will enter into an exciting dialogue with selected sculptures and paintings by the Swiss sculptor. Both artists’ oeuvre revolves primarily around the image of man and the human condition; with reduced means of representation, they’re both looking to explore fundamental existential questions. The shattering directness of the works of art presents the viewer with a lasting challenge. Giacometti and Nauman share a procedural approach as well as subjects, such as the representation of emptiness, the relationship between figure and space, and the fragmented body. In a thematically landscaped layout, the exhibition brings together about 70 works, including numerous major works by both artists. The outcome of this juxtaposition is by no means foregone: Giacometti emerges as a pioneer of key developments in art after 1960, regaining his original radicalism, while Nauman’s outstanding importance as a sculptor becomes apparent, achieving an alternative historical significance. The exhibition does not endeavor to confirm or even endorse influences and overarching theories, but rather expands our perception of the work of two outstanding representatives of 20th and 21st century art.Exhibition: Schirn Kunsthalle Frankfurt, 28/10/2016–22/01/2017

This luxurious four-color album, with two additional fluorescent colors, has been made to the young German artist's specifications. While Reyle is primarily a painter, it is light in particular with which his paintings are concerned, both the light hitting pigment on canvas and, particularly, electric light, pale and acid, from the lamps and neon signs of the modern landscape. His found objects, almost readymades, function, therefore, like indices to his pictorial work. The phosphorescence of the paint, or that the paint gives to the objects, can be understood as a puzzle about a problematic medium, one whose solution here induces a new confidence and surprising expectations and wakes up the gaze. Reyle is represented in New York by Gavin Brown.

Jorinde Voigt (born 1977) has developed a complex vocabulary of lines, diagrams, symbols and handwritten notes, which represent abstract phenomena such as space, time, the earth's rotation or velocity. This book features her new project, Song of the Earth, a monumental drawing cycle set out in eight compositions, inspired by Mahler's song cycle Das Lied von der Erde (1908–09), synthesizing visual art and music.

Softcover. 19x26cm. 244pp. Umschlag minimal berieben, ansonsten tadellos

With overheated seductive power and sultry malicious glamour Karen Kilimnik introduces us to the rituals of her second-hand yearnings and her media worship, which she proceeds to dissect in an incomparable mixture of desperate innocence, post-adolescent ingenuity, and voodoo-like humor. ""A world where supermodels converge with the super-richKate Moss and Princess Di become oneand where the adult obsessions with wealth and beauty are offset by a childish preoccupation with pedigree dogs, thoroughbred horses and the Pink Panther.""Anna Chapman / The Fac

This companion volume to a major exhibition of the work of Laszlo Moholy-Nagy highlights the extraordinary range of his prolific career. Throughout his career Moholy-Nagy produced brilliant works in painting, film, photography, sculpture, set design and typography. A leading proponent of the Bauhaus School, he strove to apply artistic principles to every aspect of daily life. This companion volume to a retrospective features 170 works from all phases of Moholy-Nagy's career. Essays on his involvement with the Bauhaus School; his late paintings; his photographs, photograms, and photosculptures; and his accomplishments in the field of graphic art are complemented by numerous color illustrations. The book also documents the reconstruction of a never completed work, The Room of Today, which incorporates the most important themes Moholy-Nagy brought to his art. Readers viewing his work for the first time, along with those already possessing a deep appreciation for his art, will celebrate this long-overdue volume.

271 Seiten. Mit zahlreichen Abbildungen/109 farbigen Abbildungen und Zeichnungen. 27,5 x 24,5 cm Buch ist neu, aus priv. Vorbesitz, ungelesen, ISBN: 9783777450902 Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Deutsch Gewicht in Gramm: 1619

Between 1947 and 1964 Joseph Beuys produced a swath of works on paper that, in their style, technique, and formal vocabulary, echo those of Auguste Rodin by way of his teacher and mentor, sculptor, Wilhelm Lehmbruck. Although Beuys's work remains very different from his predecessors', it does take up themes they had pursued, including the idea of the torso as an autonomous, enclosed form and of the fragment as the simplest and most elementary embodiment of immutability. This book sets Beuys's works on paper and sculptures opposite the works on paper and sculptures of Rodin and Lehmbruck, and finds both striking affinities and autonomy.

Two artists, two generations, of rather differing provenanceSchirn Kunsthalle Frankfurt is dedicating a comprehensive exhibition to the surprising and hitherto largely overlooked connections in the work by Alberto Giacometti (1901–1966) and Bruce Nauman (* 1941). Drawings, photographs, videos, sculptures and large-scale installations by the US multimedia artist will enter into an exciting dialogue with selected sculptures and paintings by the Swiss sculptor. Both artists’ oeuvre revolves primarily around the image of man and the human condition; with reduced means of representation, they’re both looking to explore fundamental existential questions. The shattering directness of the works of art presents the viewer with a lasting challenge. Giacometti and Nauman share a procedural approach as well as subjects, such as the representation of emptiness, the relationship between figure and space, and the fragmented body. In a thematically landscaped layout, the exhibition brings together about 70 works, including numerous major works by both artists. The outcome of this juxtaposition is by no means foregone: Giacometti emerges as a pioneer of key developments in art after 1960, regaining his original radicalism, while Nauman’s outstanding importance as a sculptor becomes apparent, achieving an alternative historical significance. The exhibition does not endeavor to confirm or even endorse influences and overarching theories, but rather expands our perception of the work of two outstanding representatives of 20th and 21st century art.Exhibition: Schirn Kunsthalle Frankfurt, 28/10/2016–22/01/2017

Das Kupferstichkabinett der Hamburger Kunsthalle verfugt uber eine der wichtigen Sammlungen italienischer Handzeichnungen in Europa. Deren Bedeutung liegt jedoch nicht im Umfang, sondern in der Qualitat zahlreicher Einzelblatter. Mit diesem dreibandigen Katalog wird nun der gesamte Bestand eindrucksvoll dokumentiert. Unter den 1045 Zeichnungen bilden Werke der Renaissance einen besonderen Schwerpunkt. Von herausragender Qualitat sind die Zeichnungen von Leonardo da Vinci, Raffael und Michelangelo. Die Vielfalt der kunstlerischen Positionen des 16. Jahrhunderts wird mit faszinierenden Blattern von Andrea del Sarto, Pontormo, Parmigianino, Giulio Romano und Perino del Vaga veranschaulicht. Zudem sind so bedeutende Kunstler wie Giorgio Vasari, Pellegrino Tibaldi, Taddeo und Federico Zuccari sowie Federico Barocci und Jacopo Bassano mit Spitzenblattern vertreten. Das 17. Jahrhundert wird durch Kunstler wie Guercino, Domenichino, Carlo Dolci und Salvator Rosa lebendig. Einen glanzvollen Hohepunkt der Sammlung bildet der vorzugliche Bestand an Zeichnungen Giovanni Battista Piranesis. Zudem befindet sich auch ein bislang nahezu unbekannter Klebeband mit 286 Zeichnungen von Stefano della Bella in der Sammlung. Mit ihm besitzt das Kupferstichkabinett den drittgrossten Bestand dieses Kunstlers weltweit. Aufgrund seiner uberragenden Bedeutung wird er in einem eigenen Band publiziert. Samtliche im Bestandskatalog enthaltenen Werke werden ausfuhrlich wissenschaftlich kommentiert und mit ihren jeweiligen Vorder- und Ruckseiten abgebildet. Der Bestandskatalog der italienischen Zeichnungen ist der zweite Band einer Reihe, in der das Kupferstichkabinett seine Zeichnungsbestande vorstellt. Bereits 2007 ist der Bestandskatalog der deutschen Zeichnungen (ISBN 978-3-412-35305-6) erschienen. Die Veroffentlichung des Bestandskataloges der niederlandischen Zeichnungen ist in Vorbereitung.

Paperback. Text in German. Minor wear to corners. Includes publisher's folded print as issued.

Seiten; Sauber mit leichten Gebrauchsspuren, Seiten und Bindung nahezu unversehrt, keine Knicke, Markierungen oder persönliche Notizen. Antworten in Arbeitsbüchern sind nicht ausgefüllt, Zusatzmaterialien (CDs, Zugangscodes) verwendbar, keine Post-Its. 9783893224258.2 Sprache: Deutsch Gewicht in Gramm: 1

104 Seiten, ISBN: 9783960986812 Sprache: Deutsch Gewicht in Gramm: 783

27 pp., Paperback, very good. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

147 S. mit Ill. / gutes Exemplar // Ausstellungskatalog, Radierung , Bildband, Bildende Kunst N08 9783923848768 *.* Sprache: Deutsch Gewicht in Gramm: 971

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.