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This survey of American photographer James Welling's images from the past 25 years offers the opportunity for an in-depth study of the complex and mutable priorities upon which this work builds its strength. The different series of works complement and contrast one another as a network of associations, rather than a linear chronology. For example, we see the on-going tension between the representational power of photography and its pictorial purity (or abstraction) when moving from the images of railroads to his pictures of crumpled fabric and foil imaginary landscapes. And most recently, the "Light Sources" pictures embrace a wide range of associations from the world observed or natural -- the sun shining through a thicket of trees -- to the world engineered or mediated -- a mosaic of ceiling lights. Essays by Michael Fried and Sarah Rogers focus on individual images from different series as well as varied preoccupations from the past three decades.

215 Seiten mit vielen Abbildungen. Mit beiliegendem Corrigenda-Papier. Zustand: der Schutzumschlag hat einen Einriss (geklebt) und ist an den Rändern leicht berieben, das Buch ist in gutem Zustand. Size: 4°.

James Turrell (born 1943) has been working with light in all its manifestations since the 1960s. Moving beyond the purely scientific investigation of optical phenomena, his works are designed to induce extraordinary experiences for the viewer, through the manipulation of light and color. The artist has been pursing this aim since 1974, when he began transforming the Roden Crater-an extinct volcano in the Arizona desert-into an observatory, inside of which visitors can immerse themselves in the embrace of an unusually pure experience of light. Turrell is currently realizing his largest installation to date in the 18-by-30-meter hall at the Kunstmuseum Wolfsburg. This work resembles the Roden Crater project, inverted and rotated 90 degrees; it thus provides a foretaste of Turrell's still incomplete epic masterpiece. This richly illustrated publication documents and contextualizes the genesis of this extraordinary and ambitious work of art.

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

4°, 285 S., mit vielen Abb. (teils farbig), Orig.-Broschur (Fadenheftung). (Zweisprachige Ausgabe, deutsch und englisch.) - Zustand: Farben am Rücken etwas verblaßt, sonst sehr gut.

The idea for the VW "Type 2" Commercial came from Ben Pon, a VW importer from the Netherlands, who was inspired by the crude but effective vehicles used to move goods around the Wolfsburg factory site. Introduced in 1949, the first Type 2s had the now sought-after split screens, and were produced as buses, campers, vans and pick-ups for almost 20 years. The VW bus has been used for many jobs: fire engine, ambulance, mobile home, cement mixer and school bus among others.

What kind of car is that? It looks like a big Beetle! If ever there was a car in search of a context and market, it was the VW Type 4. Volkswagen’s first foray into the upscale sector brought engineering innovation to Wolfsburg. It also tried to convince worldwide buyers that VW still had the right stuff. With design origins in the Porsche consultancy, the signs were hopeful. However, globally, the automarket was rapidly changing. The VW Type 4’s portfolio ran to unitary construction and fuel injection, but had to face fancy competition from Detroit’s European subsidiaries. All the while, VW was searching for its future road, and faced challenging developments. The fuel crisis and Japanese competition in North America kept the pressure on at Wolfsburg. Could the VW 411 and 412’s solid traditional virtues carry the day? Then and now the Type 4’s unbreakable VW quality, and flat out sustainability, appealed to air cooled devotees. The 411 and 412 brought a new dimension in comfort to VW, and its hardware design was utilized by the air cooled clan both on and off road. The Type 4 even had a sports car connection, and never lost the power to surprise.

The Volkswagen Karmann Ghia represents one of those unique collaborations between three companies in two different countries: the Volkswagenwerke in Wolfsburg, Germany and Wilhelm Karmann in Osnabruck, Germany, and the Ghia coachworks in Turin, Italy. It also represents the efforts of four men who have all gone down in automobile history for their achievements: Heinrich Nordhoff at VW, Wilhelm Karmann at Karmann, Mario Boano and Luigi Segre at Ghia. From the moment the pretty coupe walked onto the world's stage it went straight into the motoring Hall of Fame. Interestingly, where most coupes of the time had some pretense towards being sporting, generally with a mildly hotted up engine, the Karmann Ghia was simply stock VW Beetle from the mechanical point of view. In other words, it was still a 72-75mph car, it just looked great doing it! And that is why owners loved it. By 1961 VW introduced the Karmann 1500 based on the Type 3 platform to supplement the original. It was nowhere near as successful and was withdrawn from production in 1969, long before its older and more famous sibling. There is a strong and enthusiastic following for the Volkswagen Karmann Ghia coupe all around the world, a movement that seems to grow each year.

In 1953, Peter Keetman spent a week at the Volkswagen plant in Wolfsburg. The result was a series of exceptionally clear, almost abstractly detailed photographs that document the entire production process of the VW Beetle. Storage stacks of shiny metal bumpers look like so many Modernist sculptures; car bodies hovering above the assembly line retrospectively form a surreal Pop art montage. This oversize publication reproduces the Volkswagenwerk series in full, in their original size, together with texts that refer both to this series and to Keetman's greater oeuvre. Keetman was known throughout his career as photographer of systemically conceived picture series on themes that included close-ups of water and oil drops, a style of working he developed as a member of Fotoform. Fotoform, a German movement of the 1950s of which Keetman was a primary proponent, was critical in the development of German photography as it is today: the group's "subjective photography" combined scientific objectivity with abstraction.

The Volkswagen Karmann Ghia represents one of those unique collaborations between three companies in two different countries: the Volkswagenwerke in Wolfsburg, Germany and Wilhelm Karmann in Osnabruck, Germany, and the Ghia coachworks in Turin, Italy. It also represents the efforts of four men who have all gone down in automobile history for their achievements: Heinrich Nordhoff at VW, Wilhelm Karmann at Karmann, Mario Boano and Luigi Segre at Ghia. From the moment the pretty coupe walked onto the world's stage it went straight into the motoring Hall of Fame. Interestingly, where most coupes of the time had some pretense towards being sporting, generally with a mildly hotted up engine, the Karmann Ghia was simply stock VW Beetle from the mechanical point of view. In other words, it was still a 72-75mph car, it just looked great doing it! And that is why owners loved it. By 1961 VW introduced the Karmann 1500 based on the Type 3 platform to supplement the original. It was nowhere near as successful and was withdrawn from production in 1969, long before its older and more famous sibling. There is a strong and enthusiastic following for the Volkswagen Karmann Ghia coupe all around the world, a movement that seems to grow each year.

What kind of car is that? It looks like a big Beetle! If ever there was a car in search of a context and market, it was the VW Type 4. Volkswagen’s first foray into the upscale sector brought engineering innovation to Wolfsburg. It also tried to convince worldwide buyers that VW still had the right stuff. With design origins in the Porsche consultancy, the signs were hopeful. However, globally, the automarket was rapidly changing. The VW Type 4’s portfolio ran to unitary construction and fuel injection, but had to face fancy competition from Detroit’s European subsidiaries. All the while, VW was searching for its future road, and faced challenging developments. The fuel crisis and Japanese competition in North America kept the pressure on at Wolfsburg. Could the VW 411 and 412’s solid traditional virtues carry the day? Then and now the Type 4’s unbreakable VW quality, and flat out sustainability, appealed to air cooled devotees. The 411 and 412 brought a new dimension in comfort to VW, and its hardware design was utilized by the air cooled clan both on and off road. The Type 4 even had a sports car connection, and never lost the power to surprise.

ZAHA HADID PHAENO Science Center Wolfsburg, Germany STEVEN HOLL Higgins Hall Center Section Pratt Institute School of Architecture Brooklyn, New York, U.S.A. STEVEN HOLL Loisium Hotel Spa Resort and Wine Center Langenlois, Austria HERZOG & DE MEURON de Young Museum Golden Gate Park. San Francisco, California, U.S.A. HERZOG & DE MEURON Walker Art Center, Expansion of Museum and Cultural Center Minneapolis, Minnesota, U.S.A. RENZO PIANO High Museum of Art Expansion Atlanta, Georgia, U.S.A.

In November 1949, a new epoch of automotive history began with the introduction of the first small transporter by Volkswagen. Like no other light utility vehicle before, the variety-rich space-saver from Wolfsburg has influenced the development of a new generation of functional, multipurpose minibuses. Six decades after its introduction, the “Bulli,” as the Transporter has been lovingly named by its legion of fans, has lost none of its fascination. Today, to be sure, well-maintained collectors’ examples of the T1 (1950-1967) and T2 (1967-1979), of which some 4.85 million were built in all, have become rare and particularly expensive. In this book, specialist author Jörg Hajt portrays VW Transporters of all body types, loving restored and set perfectly in their scenes: from the Camper to the Builder’s Van, form the Municipal Bulli to the Samba Bus. Complete construction details offer important tips for buying a VW Transporter and complete this wonderful pictorial volume.

This is the story of VW's timeless classic, the Type 2 Transporter, universally known as the "Bus". It is sixty years since the idea of VW's Transporter was conceived by Dutchman Ben Pon after seeing motorized trollies conveying components around the British-managed Wolfsburg factory in the mid-1940s. With blueprints complete by November 1948, the "Bulli" as it was known in Germany went into production a year later. The 100,000th Transporter was built in October 1954, the millionth in 1961 and the 3 millionth in 1971, the total number of vehicles exceeding 6.5 million. The Transporter changed little in concept throughout decades of production, and remained in production in Brazil until very recently, nearly six decades after its postwar German debut.Researched in incredible detail, this book explores the story of the VW bus, from early origins through to the present day. This entirely new edition includes details of many of the different camper conversions, and examines the social history and the T2's evolution. Including full specifications, production figures and buying advice, this totally reworked classic is an interesting, highly informative read and a must for any VW enthusiast.

Visitors to the Autostadt automotive theme park in Wolfsburg, Germany, have recently been treated to a walk-through living greenhouse, a breezeway whose walls are made of rows of potted plants, open from April to September. The rack that holds the pots in place is openwork, and structurally speaking not unlike the one under Jeff Koons's Puppy, but Eliasson goes one step further by inviting viewers to move through the inside of the piece, and by animating it to rotate around them, pouring out seasonal scents. Eliasson's goal, realized here with great success and to great acclaim, is to bring viewers into a verdant, flourishing space. This petite, elegant hardcover documents the Scent Tunnel project and follows it through a full season, listing the flowering times of its plants and considering the work and its olfactory elements from both scientific and art-historical perspectives.

143 Seiten. Katalog zur Ausstellung im Walker Art Center, Minneapolis und im Kunstmuseum Wolfsburg. Redaktion der deutschen Ausgabe: Veit Görner und Margarete Heck, Übersetzung: Christian Quatmann. Mit zahlreichen teils farbigen Abbildungen, Kurzbiografien, Ausstellungsverzeichnissen, Bibliografie und Werkverzeichnis. Rückenenden gering beschabt, vordere untere rechte Ecke gering gestaucht. Insgesamt aber durchaus ordentliches und sauberes Exemplar. Sprache: Deutsch, Gewicht in Gramm: 453. Original-Broschur, 17x22cm, Zustand: 3

288 Seiten mit 242 Abbildungen. Reichhaltig s/w bebilderter Katalog zur gleichnamigen Ausstellung, die von 2007 bis 2009 nacheinander in Paris, Zürich, Reggio Emilia, Madrid, Wolfsburg, New York, Massachusets und Toronto gezeigt wurde. Der Bildband, für die Ausstellung im Kunstmuseum Wolfsburg in deutsch erschienen, zeigt Steichens berühmteste Arbeiten aus dem Condé Nast Archiv in großformatigen Reproduktionen. PLEASE NOTE THIS IS A HEAVY and OVERSIZED BOOK AND MAY INCUR EXTRA SHIPPING

Young Nicola leaves his hometown of Palermo, Sicily, with it's bad economy and high unemployment, for a better life in Wolfsburg, Germany. He lands a good job at the VW plant, but without the support of his family and community, he struggles to integrate into German society. Nicola falls for a pretty local girl, but happiness eludes him as he becomes entangled in a situation that quickly spins out of control.