47 products were found matching your search for kippenbergers in 2 shops:

Ca. 75 Min. Laufzeit DVD; bislang unbekanntes Material gibt den Blick frei auf den privat scheuen, öffentlich jedoch stets provokant-provokativen Menschen & Künstler, das "Phänomen Kippenberger". Zu Wort kommen u.a. Angehörige der Familie sowie Freunde, Weggefährten & Bewunderer wie Diedrich Diedrichsen, Kasper König, Christoph Schlingensief etc. Gramm 200

The first individual exhibition of the German artist Martin Kippenberger (Dortmund 1953 ? Vienna 1997) at a Spanish museum displays a total of one hundred paintings, sculptures and drawings. The works are selected from two of the finest collections of the artist's work in the world: those of publisher Benedikt Taschen and fellow-artist Albert Oehlen. Kippenberger's art has been posthumously exhibited at several of the most important artistic events of the last few decades, including the Documenta X in Kassel, Germany; the Skulptur in M?nster, Germany; the Kunsthalle in Basel, Switzerland; and, most recently, museum shows in Karlsruhe, Germany, Vienna, Austria and Eindhoven, the Netherlands.

Over the course of his 20-year career, Martin Kippenberger (1953–1997) cast himself alternately as hard-drinking carouser and confrontational art-world jester, thrusting these personae to the forefront of his prodigious creativity. He was also very much a player in the international art world of the 1970s right up until his death in 1997, commissioning work from artists such as Jeff Koons and Mike Kelley, and acting as unofficial ringleader to a generation of German artists. Written by the artist’s sister, Susanne Kippenberger, and now available in paperback, this first English-language biography draws both from personal memories of their shared childhood and exhaustive interviews with Kippenberger’s extended family of friends and colleagues in the art world. Kippenberger gives insight into the psychology and drive behind this playful and provocative artist. Reviewing the hardcover edition in The New York Times, Roberta Smith wrote: “Ms. Kippenberger provides wonderful thumbnail portraits of the many key figures in her brother’s life, while using their reminiscences to create a finely diced composite oral history that makes palpable both his charming and his repellent sides.”

wraps, 141 pp Standard shipping (no tracking) / Priority (with tracking) / Custom quote for large or heavy orders.

One of the most versatile and prolific artists of the postwar era, Martin Kippenberger (1953–1997) has been the subject of numerous major exhibitions since his premature death at the age of 44. The last exhibition in his lifetime took place at the Städtisches Museum Abteiberg, in Mönchengladbach, Germany, and was titled Der Eiermann und seine Ausleger (The Eggman and his Outriggers). This publication focuses on nine paintings, a group of drawings and one sculpture that formed the center of this final exhibit, all of which were made in the last three years of Kippenberger’s life. These works explore the motif of the egg--a key theme throughout the artist’s career, deployed to variously reference rebirth, reproduction and circularity, and also used as a comic device: in one self-portrait, Kippenberger depicts himself as an eggman whose torso has expanded well beyond its youthful contours.

Works spanning the legendary and prolific artist's twenty-year career, including many of his self-portraits, paintings, sculptures, works on paper, installations, and exhibition posters.

Painter Christopher Wool has written, “Some of the best stand-up performance I ever saw was Martin [Kippenberger] telling jokes in the back of some bar or restaurant.” Which is not to dismiss the legendary German artist, who was at the forefront of the much-storied Cologne art scene of the early 1990s--Kippenberger, who died in 1997, used humor like a laser, to illuminate power structures and taboos. One of the most important artists of the twentieth century, he not only worked in a variety of media--painting, sculpture, books and multiples--but, taking a cue from Joseph Beuys, actively tried to conceive new possibilities on which to model an art practice. This volume, published for an exhibition at Austria’s acclaimed Kunsthaus Graz, includes incisive essays by curator and critic Daniel Birnbaum and linguist and writer Martin Prinzhorn, which examine the softer, more utopian side of the artist.

Martin Kippenberger (1953–1997) is one of the most important German artists of the last two decades. He decisively shaped the image of art in the postmodern era. His wit, his unrestrained creative urge, and the resulting work assured him a prominent position within the contemporary art scene during his lifetime. He now occupies an important place in art historical consideration today. Martin Kippenberger's attitude and understanding of his role as an artist has become a model for future generations. Drawings, posters, collages, multiples, artist’s books, photographs, music, paintings, sculptures, and expansive installations–Kippenberger's work encompasses all media of 20th century art. Perhaps the slogan I love No waiting, which he presented to Günther Förg's camera, reveals everything about the artist, the era some 30 years ago, and our own former youth. Did he already tell us that we should yearn for the zeitgeist embodied so uniquely by his art?

Kippenberger's latest artist book explores the furnished world and cheekily juxtaposes modern images with visions of the 19th century.

Martin Kippenberger died in 1997 at the young age of 44. Nach Kippenberger--after Kippenberger--collects together various essays which pave the way for an understanding of his work after the fact, for the next generation. Essayists include Eva Meyer-Hermann, Anke Kempkes and Manfred Hermes, and more than 250 images illustrate Kippenberger's life and work.

The installation The Happy End of Franz Kafka s Amerika is the central work of the first comprehensive posthumous Kippenberger exhibition in Germany. The installation shows a kind of sports field: 49 bizarre tables and 98 absurd seats for job interviews in the museum, Kippenberger s vision of giving Franz Kafka s novel Amerika an unexpected happy end. After all, the novel hasn t really been read through by anybody. Complying with the increasing interest in the artist s work, this publication vividly recalls Kippenberger as the master of ironic art who dies in 1997 aged only 44 years. Includes a biography and a bibliography. English and German text.

The first individual exhibition of the German artist Martin Kippenberger (Dortmund 1953 ? Vienna 1997) at a Spanish museum displays a total of one hundred paintings, sculptures and drawings. The works are selected from two of the finest collections of the artist's work in the world: those of publisher Benedikt Taschen and fellow-artist Albert Oehlen. Kippenberger's art has been posthumously exhibited at several of the most important artistic events of the last few decades, including the Documenta X in Kassel, Germany; the Skulptur in M?nster, Germany; the Kunsthalle in Basel, Switzerland; and, most recently, museum shows in Karlsruhe, Germany, Vienna, Austria and Eindhoven, the Netherlands.

first printing/fine large sized hardback.no dustwrapper as published

LIKE NEW!!! Has a red or black remainder mark on bottom/exterior edge of pages.

Martin Kippenberger's premature death in 1997 at the age of 43 brought to an end one of the most prolific and controversial careers in 20th-century art. While some critics dismissed the German painter and sculptor as a showman, others hailed him as the greatest artist of his era. His personal history and bad-boy image have often obscured the importance of his work; this book shows that his legacy has influenced generations of artists. Essays examine the themes underlying Kippenberger's work, including Socialist Realism and kitsch; self portraiture and myth; punk and anti-romanticism; and exile and homelessness. A new translation of Kippenberger's final interview ensures his own idiosyncratic voice is present.

text in english and two others

Martin Kippenberger's trickster aesthetic was aided and abetted by the owners of his famed Berlin hangout, the Paris Bar. One proprietor, Michael Würthle, provided Kippenberger with a place to make art at his family's house on the island of Syros, Greece; the other, Reinald Nohal, owned a summer retreat in Canada's Yukon Territory, which the artist visited. In those two remote locations, Kippenberger conceived his worldwide subway network, Metro-Net, and built the first two entrances, should anyone decide to do the rest of the underground excavation and construction. The Bermuda Triangle documents in detail the planning and execution of this piece by the late high-art prankster, and reproduces the varied, accomplished, sometimes hilarious and devastatingly human drawings from the 80s and 90s, mostly on hotel stationery, from Würthle's collection. Its witty design is one Kippenberger would certainly have appreciated, its two volumes accompanied by a 'guerilla marketing kit' of two posters and an “I [heart] Kippenberger” bumper sticker, all contained in a cardboard box that converts to a display stand.

Exhibition: New York, Skarstedt Gallery, 2014. 124 pages, illustrated throughout in colour. Hardback 25 x 31cms.

Martin Kippenberger's trickster aesthetic was aided and abetted by the owners of his famed Berlin hangout, the Paris Bar. One proprietor, Michael Würthle, provided Kippenberger with a place to make art at his family's house on the island of Syros, Greece; the other, Reinald Nohal, owned a summer retreat in Canada's Yukon Territory, which the artist visited. In those two remote locations, Kippenberger conceived his worldwide subway network, Metro-Net, and built the first two entrances, should anyone decide to do the rest of the underground excavation and construction. The Bermuda Triangle documents in detail the planning and execution of this piece by the late high-art prankster, and reproduces the varied, accomplished, sometimes hilarious and devastatingly human drawings from the 80s and 90s, mostly on hotel stationery, from Würthle's collection. Its witty design is one Kippenberger would certainly have appreciated, its two volumes accompanied by a 'guerilla marketing kit' of two posters and an “I [heart] Kippenberger” bumper sticker, all contained in a cardboard box that converts to a display stand.

Martin Kippenberger (1953–1997) is one of the most important German artists of the last two decades. He decisively shaped the image of art in the postmodern era. His wit, his unrestrained creative urge, and the resulting work assured him a prominent position within the contemporary art scene during his lifetime. He now occupies an important place in art historical consideration today. Martin Kippenberger's attitude and understanding of his role as an artist has become a model for future generations. Drawings, posters, collages, multiples, artist’s books, photographs, music, paintings, sculptures, and expansive installations–Kippenberger's work encompasses all media of 20th century art. Perhaps the slogan I love No waiting, which he presented to Günther Förg's camera, reveals everything about the artist, the era some 30 years ago, and our own former youth. Did he already tell us that we should yearn for the zeitgeist embodied so uniquely by his art?