dumont literatur und kunst verlag köln cologne (5 resultados)

Softcover. Black wraps, French flaps, 519, xxxii pp. 359 color plates. Text is in German. Issued in conjunction with a 2002-2004 series of exhibitions of Aztec art. With 9 thematic and illustrated essays. Features more than 350 specfic pieces. An uncommon catalogue, in many ways. Catalogue of an exhibition held at Royal Academy of Arts, London, 16. November 2002-11. April, 2003; Martin-Gropius-Bau, Berlin, 17. May-10. August 2003; Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 26. September 2003-11. January 2004./ Includes glossary./ Includes bibliographical references (pages 501-511) and index. VG (Slight scuffs to covers, otherwise clean.).

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st Edition. First edition, first and only printing. Hardcover. Fine black cloth, with title stamped in silver on front cover and spine, with photographically illustrated dust jacket. Edited by Holger Broeker. Preface by Gijs van Tuyl. Essays by Gottfried Boehm, Chrissie Iles and Heinz Liesbrock. Includes an extensive biography, exhibition history and bibliography. Also includes an illustrated catalogue raisonné, with accompanying text by Holger Broeker, and a checklist to the exhibition. 288 pp., with numerous four-color plates and numerous color and black-and-white reference illustrations, beautifully printed by B.o.s.s Druck und Medien GmbH. 11 x 10 inches. Published on the occasion of the 2001-2002 exhibition Gary Hill: Selected Works, curated by Holger Broeker, Veit Görner and Annelie Lütgens, at Kunstmuseum Wolfsburg (also traveled to Lisbon, 2002). Fine in Fine dust jacket. From the publisher: "In Hole in the Wall, his first video installation, created in 1974, we watch on a monitor screen inserted at eye level into a wall as Gary Hill removes, layer for layer, a rectangular section of that same wall in order to create the very hole in which the monitor is about to be positioned. The placement of the monitor in the hole in turn triggers feedback between the camera and the video monitor, which then restarts the loop, thus showing how the medium of video moves into a surface previously reserved for exhibiting paintings and drawings. Gary Hill: Selected Works and Catalogue Raisonné places this initial piece in the context of work dating from 1972 to 2001, including 20 performances, 50 mono-channel videos, 60 video installations, and a number of destroyed works, and demonstrates that, though video is truly the most appropriate medium for Hill's artistic project, it is never confused with the content of the work, with his interest in perception, image creation, and the relationship between body and speech.".

Hardcover. Condición: New. Estado de la sobrecubierta: New. 1st Edition. First edition, first printing. Limited edition of 300 copies, stamped, numbered, and signed in black ink on the title page by Magdanz. Hardcover. White paper-covered boards, with German eagle design blind-stamped on front cover, and debossed title in black on the spine. White laminated dust jacket embossed with German eagle design on front and title on spine. Photographs and text (in German and English) by Andreas Magdanz. Additional text by Christoph Schaden. English text is printed on dust jacket overleaf. 192 pp., with 13 four-color and 93 black-and-white plates, printed on heavy stock paper. 11-3/8 x 13-3/4 inches. New in New dust jacket. From the artist: "The relocation of the German intelligence service BND from Pullach near Munich to Berlin marks a turning point in the history of the Federal Republic of Germany. The move, which is scheduled to be completed by 2011, will allow the first exclusive photographic documentation ever of the area in Pullach, which until now was strictly off-limits. In August of 2005, after a period of preparation that lasted more than 1 1/2 years and following extensive vetting procedures, the photographic work on the project BND - Standort Pullach began. The access to the site has been granted without limitations and no attempt to exert any influence upon the artistic work was made, apart from constant supervision by the department." As Christoph Schaden notes in his essay, Magdanz's restrained imagery belies the historical force of his subject: "The strict ban on taking pictures of the employees, who always introduced themselves to [Magdanz] in a friendly manner, but invariably gave false names, serves as his intellectual starting point. Atmospherically, that desertedness grows to become and all-pervading moment of absence that lays itself, leadenly and ubiquitously, over the sequence of images. Its mute plea is unambiguous and, in changing from color to black and white, suggests a latent menace. Any detailed information, it seems, is pointless." Signed by Author.

Hardcover. Condición: New. 1st Edition. First edition, first printing. Hardcover. Photographically illustrated paper-covered boards; no dust jacket as issued. Photographs by Miroslav Tichy. Essays (in German) by Tobia Bezzola and Roman Buxbaum. Foreword (in German) by Christoph Becker. Includes a biography and a list of plates. Designed by Neil Holt, Köln. 172 pp., with 106 four-color plates and additional black-and-white illustrations. 11 x 9 inches. Published on the occasion of a 2005 exhibition at Kunsthaus Zürich. New in publisher's shrink-wrap. A flawless Mint copy. From Kunsthaus Zürich: "With cameras that he himself skillfully and imaginatively cobbled together from old tins, spectacle lenses, toilet rolls and cigarette boxes, in the 1970s and 80s Miroslav Tichy took over a hundred shots a day of women in his small hometown in Moravia.The results of those forays are shots of women at the market, in the swimming pool, at work, in pubs, in the streets and public squares.The shots are taken using cameras without viewfinders, and Tichy systematically ignores the principles of skilled photography, which insists on the fine-tuning of the relationship of the gaze and the world, the gaze through the viewfinder and the gaze of the cold glass eye of the camera. Instead Tichy largely shifts the processes of considered creativity into the darkroom and post-production. The contact sheets show how he lets chance guide his perambulations, in the first instance simply collecting vast amounts of material. It is only when he is working with the enlarger that images are selected and details tested out.Yet even these enlargements are still only raw materials, and it is only the images that receive full approval that make the grade: with hand-done, drawn additions to the picture surface and a purpose-made, individually cut and painted cardboard passepartout. Breaking all the rules of technical correctness, intentionally revealing photochemical processes, using the most primitive of equipment, expressively retouching images, working and reworking the surfaces of the prints manually, mechanically or with pen and pencil -- all these are reminiscent of the experimental methods developed by artists in the last three decades to reclaim or to rediscover for themselves the expressive content of a technology that seemed to have been rendered sterile. By the same token, Tichy's work is about much more than just snapping images: motifs and compositions reflect each other in a now melancholic, now ironic interplay of mimesis and self-referentiality.".

Hardcover. Condición: New. Estado de la sobrecubierta: New. 1st Edition. First edition, first printing. Limited edition of 300 copies, stamped, numbered, and signed in black ink on the title page by Magdanz, with an original Type-C print (image and paper size 10-3/4 x 13-1/2 inches), signed and numbered verso by Magdanz. The print ("MINOX C," reproduced on page 75), is not among the original 5 variants for the edition, and may have been done later. Hardcover. White paper-covered boards, with German eagle design blind-stamped on front cover, and debossed title in black on the spine. White laminated dust jacket embossed with German eagle design on front and title on spine. Photographs and text (in German and English) by Andreas Magdanz. Additional text by Christoph Schaden. English text is printed on dust jacket overleaf. 192 pp., with 13 four-color and 93 black-and-white plates, printed on heavy stock paper. 11-3/8 x 13-3/4 inches. New in New dust jacket. From the artist: "The relocation of the German intelligence service BND from Pullach near Munich to Berlin marks a turning point in the history of the Federal Republic of Germany. The move, which is scheduled to be completed by 2011, will allow the first exclusive photographic documentation ever of the area in Pullach, which until now was strictly off-limits. In August of 2005, after a period of preparation that lasted more than 1 1/2 years and following extensive vetting procedures, the photographic work on the project BND - Standort Pullach began. The access to the site has been granted without limitations and no attempt to exert any influence upon the artistic work was made, apart from constant supervision by the department." As Christoph Schaden notes in his essay, Magdanz's restrained imagery belies the historical force of his subject: "The strict ban on taking pictures of the employees, who always introduced themselves to [Magdanz] in a friendly manner, but invariably gave false names, serves as his intellectual starting point. Atmospherically, that desertedness grows to become and all-pervading moment of absence that lays itself, leadenly and ubiquitously, over the sequence of images. Its mute plea is unambiguous and, in changing from color to black and white, suggests a latent menace. Any detailed information, it seems, is pointless." Signed by Author.