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Since 1979, Peter Fischli and David Weiss have been cheerfully celebrating the banality of everyday existence and, in the process, rising to the forefront of the contemporary international art world. Their work deliberately ignores the traditional distinction between high and low art, and employs a wide variety of media, including photography, film, video, artists’ books, installation, and sculpture. Featuring over 200 color illustrations arranged in spreads designed by the artists, Flowers & Questions is the most thorough survey to date of one of the most fascinating and varied careers in contemporary art. The book includes contributions from a wide range of writers, critics, artists, and filmmakers, including leading art critic Arthur C. Danto, cult filmmaker John Waters, curator and writer Hans Ulrich Obrist, and artist Tacita Dean.

109 pp. Tightly bound. Corners not bumped. Text is free of markings. No ownership markings. Near fine dust jacket. Note: Remainder mark (one small dot) bottom fore-edge. This copy is smyth sewn. Smyth sewing is a method of bookbinding where groups of folded pages (referred to as signatures) are stitched together using binder thread. Each folded signature is sewn together individually with multiple stitches and then joined with other signatures to create the complete book block. This is the traditional and best method of bookbinding.

Since 1979, Peter Fischli and David Weiss have been cheerfully celebrating the banality of everyday existence and, in the process, rising to the forefront of the contemporary international art world. Their work deliberately ignores the traditional distinction between high and low art, and employs a wide variety of media, including photography, film, video, artists’ books, installation, and sculpture. Featuring over 200 color illustrations arranged in spreads designed by the artists, Flowers & Questions is the most thorough survey to date of one of the most fascinating and varied careers in contemporary art. The book includes contributions from a wide range of writers, critics, artists, and filmmakers, including leading art critic Arthur C. Danto, cult filmmaker John Waters, curator and writer Hans Ulrich Obrist, and artist Tacita Dean.

800 Views of Airports documents a lengthy series of work by Peter Fischli (born 1952) and David Weiss (1946-2012), comprising 1,010 photographs to date, all of which appear here complete for the first time. For this ongoing documentary project, the artistic duo photograph the airports they passed through in their travels around the world over nearly 25 years, in a quest for exotic banality throughout different cultures. Their images of these nondescript airports focus on the humdrum aspect of air travel: the fuel vehicles, the baggage trucks, the daily routines of airport workers, the long antiseptic corridors and sprawling tarmacs surrounded by panoramic views of empty vistas. Whether presenting a Lufthansa airplane sitting idle in a yellowy light, a Swiss Air plane waiting in a neon-haunted dusk or an Air France plane getting its belly filled in the dead of night, Fischli and Weiss’s images present the evanescence of any national identity when reduced to a symbol on a vertical stabilizer. 800 Views of Airports reveal the non-places encircling our world, and the non-journeys that have come to define our contemporary life in transit, while simultaneously offering carefully composed images that are strangely placid and restful.

Peter Fischli (born 1952) and David Weiss (1946-2012) are celebrated around the world for their multidisciplinary projects, films, sculptures and books. The two artists began producing their Polyurethane Objects in 1982, and continued until Weiss tragically died in 2012 from cancer. Hand-carved and hand-painted, these sculptural works overturn the notion of the readymade while uncovering wit and poetry in everyday things. Edited and sequenced by Fischli himself, the book features 140 objects, depicting such humble and seemingly inauspicious items as power tools, shipping pallets, stained paintbrushes and buckets. The foldout cover depicts the sculptures as they are exhibited, in arrangements that evoke the distinctive disarray of an artist's studio.

Long before Peter Fischli and David Weiss made Fotografias, Nancy Spector had noted that the two liked to "undermine conventional distinctions between high and low art." This collection of underexposed black-and-white images does exactly that, recreating low-end figurative paintings as muddy, dark, snapshots and minting them anew as fine art. Subjects include landscapes and historical scenes, animal and mythological beings, and, yes, female figures.

Peter Fischli (born 1952) and David Weiss (1946–2012) collaborate to transform the stuff of ordinary life into a series of quizzical, whimsical, even disquieting encounters. Fascinated with unconventional subject matter and material, Fischli and Weiss toy with the idea of "high art," questioning popular narratives and movements in art and cultural history. Peter Fischli David Weiss presents an in-depth survey of the artists’ work from 1979 through 2012, drawn exclusively from Glenstone’s collection. The volume includes rubber and clay sculptures, photographic series including Equilibres (A Quiet Afternoon) and Sausage Series, digital slides such as Airports and Flowers and Mushrooms, stills from their acclaimed video The Way Things Go and the most recent iteration of their alter egos, Rat and Bear. Also reproduced is the artists’ most ambitious polyurethane installation, The Objects for Glenstone, and Questions, a slide installation of over 400 handwritten existential queries such as "Is the Devil a cheerful person?" and "Will happiness find me?" which won the Golden Lion Prize at the 2003 Venice Biennale.

The Swiss collaborators Fischli & Weiss have said of this early series of color and black-and-white photographs, "Balance is most beautiful just shortly before it collapses." Indeed their tense arrangements of household miscellany often look on the verge of falling, or are caught in the process. The only texts included with them are associative titles, including Natural Grace, (a spatula on a plate on a wine bottle on an apple on a cup), The Fart (chairs on Coke bottles and aerosol cans), and Invisible Power, (showing one end of a paper construction held aloft by the breeze from a small fan). Many of the constructions appear under several titles, in several styles: Completion, when shot in grainy, starkly lit black-and-white, becomes Honor, Courage, Confidence, and in close-up, Can I , May I, Do Anything? On the page, these often elaborate and expansive objects acquire an incidental quality that makes them both more real and more transient. Ultimately, the only evidence of their existence is these images. While a small selection of these works appeared in the artist's book Quiet Afternoon, most have never before been published in any form.

Long before Peter Fischli and David Weiss made Fotografias, Nancy Spector had noted that the two liked to "undermine conventional distinctions between high and low art." This collection of underexposed black-and-white images does exactly that, recreating low-end figurative paintings as muddy, dark, snapshots and minting them anew as fine art. Subjects include landscapes and historical scenes, animal and mythological beings, and, yes, female figures.

Suddenly This Overview gathers the popular series of more than 350 hand-sculpted, unfired clay figures begun in 1981 by the Swiss artists Peter Fischli (born 1952) and David Weiss (1946-2012)--a masterpiece executed in an entirely unspectacular material. Fischli and Weiss' little figures are arranged in sculptural tableaus to delineate scenes from history, culture, entertainment, sports and everyday life. The titles of each tableau, with their characteristic subtle mockery and serious irony, are an integral part of the work. Giving a sense of the incredible scale of the project and the variation of the figures, Suddenly This Overview offers a close look at one of Fischli and Weiss' most famous and beloved works.

Paperback.Width: 20 cm. Height: 23cm. 464 pages. English text.

Z : 20 x 23 cm, 464 Seiten mit farb. ganzseit. Abbildungen, - Die Frage nach dem Echten und dem Nachgemachten, dem Verborgenen und dem Offensichtlichen dekliniert Peter Fischli in unterschiedlichen Medien durch. Skulptur, Video, Fotografie und Installation fragen nach dem Wesen des Trugbilds und des Authentischen und hinterfragen die Phantombilder des schönen Scheins.

Paying tribute to an artistic partnership of more than 30 years, this richly illustrated book explores Peter Fischli and David Weiss’s acclaimed and influential body of work, known for its sly humor and profound meditations on the everyday. Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity, and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures, and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists’ long history of collaboration, from the early Sausage Series (1979)―staged vignettes created in miniature using deli meats and various household items―to their last work, the large-scale public installation Rock on Top of Another Rock (2009–present), augmented by documentary images, notes on process, and interview excerpts culled from the artists’ Zurich-based archives. A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss’s vital contribution to contemporary art.

Peter Fischli (born 1952) and David Weiss (1946–2012) collaborate to transform the stuff of ordinary life into a series of quizzical, whimsical, even disquieting encounters. Fascinated with unconventional subject matter and material, Fischli and Weiss toy with the idea of "high art," questioning popular narratives and movements in art and cultural history. Peter Fischli David Weiss presents an in-depth survey of the artists’ work from 1979 through 2012, drawn exclusively from Glenstone’s collection. The volume includes rubber and clay sculptures, photographic series including Equilibres (A Quiet Afternoon) and Sausage Series, digital slides such as Airports and Flowers and Mushrooms, stills from their acclaimed video The Way Things Go and the most recent iteration of their alter egos, Rat and Bear. Also reproduced is the artists’ most ambitious polyurethane installation, The Objects for Glenstone, and Questions, a slide installation of over 400 handwritten existential queries such as "Is the Devil a cheerful person?" and "Will happiness find me?" which won the Golden Lion Prize at the 2003 Venice Biennale.

Paying tribute to an artistic partnership of more than 30 years, this richly illustrated book explores Peter Fischli and David Weiss’s acclaimed and influential body of work, known for its sly humor and profound meditations on the everyday. Throughout the course of their collaboration, Peter Fischli and David Weiss celebrated the sheer triviality of everyday existence, observing the world with bemused detachment. As this book shows, their often humorous work offers a sustained reflection on the intertwined strands of leisure, productivity, and playful absurdity that shape our lives. With its deliberately mundane subject matter and quotidian source material, their work explores the poetics of banality in a wide range of mediums, including photography, videos, slide projections, films, books, sculptures, and multimedia installations. This retrospective volume features an in-depth, illustrated survey of the artists’ long history of collaboration, from the early Sausage Series (1979)―staged vignettes created in miniature using deli meats and various household items―to their last work, the large-scale public installation Rock on Top of Another Rock (2009–present), augmented by documentary images, notes on process, and interview excerpts culled from the artists’ Zurich-based archives. A series of probing essays on their practice and thematic concerns rounds out this definitive account of Fischli and Weiss’s vital contribution to contemporary art.

New large pbk. w jacket; crisp, clean. Tipped in are a card from a Fischli & Weiss show ('Rat & Bear') from the Matthew Marks Gallery, 2006and a publisher's press release

Essay by Boris Groys. Softcover. 39 color plates.

Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less 1.81

This volume considers the work of Mike Kelley alongside the collaborations of Peter Fischli and David Weiss. Kelley's works are firmly anchored in an ironic, detached attitude towards his Irish Catholic upbringing; he makes use of the pictorial language of specific subcultures and the aesthetics of 'low culture,' to probe such concerns as the representation of childhood and the social construction of sexual behavior and cultural identification. Peter Fischli and David Weiss have been making art together since 1979, addressing various theoretical and philosophical explanations of the world with their subtle and humorous manipulations of common objects. The work of the American Kelley and the Swiss Fischli and Weiss resonate with each other in curious ways, most significantly in their exploration of everyday consciousness and 'low' materials. This publication documents the work of Peter Fischli and David Weiss in the Goetz Collection during a recent exhibition, along with interviews, essays and two texts by Kelley himself.

800 Views of Airports documents a lengthy series of work by Peter Fischli (born 1952) and David Weiss (1946-2012), comprising 1,010 photographs to date, all of which appear here complete for the first time. For this ongoing documentary project, the artistic duo photograph the airports they passed through in their travels around the world over nearly 25 years, in a quest for exotic banality throughout different cultures. Their images of these nondescript airports focus on the humdrum aspect of air travel: the fuel vehicles, the baggage trucks, the daily routines of airport workers, the long antiseptic corridors and sprawling tarmacs surrounded by panoramic views of empty vistas. Whether presenting a Lufthansa airplane sitting idle in a yellowy light, a Swiss Air plane waiting in a neon-haunted dusk or an Air France plane getting its belly filled in the dead of night, Fischli and Weiss’s images present the evanescence of any national identity when reduced to a symbol on a vertical stabilizer. 800 Views of Airports reveal the non-places encircling our world, and the non-journeys that have come to define our contemporary life in transit, while simultaneously offering carefully composed images that are strangely placid and restful.