Steidl hauser wirth germany (6 resultados)

First Edition. First edition. Small softcover. Published in conjunction an exhibition that ran January 27 through March 11, 2006 in London and then March 29 through April 29, 2006 in New York. Features an essay by Glenn O'Brien. A collection of unpublished photographs from the archives of The Warhol Foundation. A near fine copy in wrappers with some very minor wear.…

Hardbound. Condición: VG/VG. Grey cloth with black lettering; white dj with color illustration and black lettering; 88 pp. with 24 color plates and several bw studio views. Text in English; catalogue from the exhibit of Kuitca's works shown in London at Hauser & Wirth in London and at Hauser &Wirth Colnaghi in 2008; with an essay by Storr, a biography, and descriptions of each plate.…

Hardcover. Condición: Very Good. 80 pages, 8vo. No DJ. Shelfwear: light scuffing along edges and covers, tanned page leafs. Tight binding, no marks. Volume is in Very Good condition.

Hardcover. Bw illustrated boards, 31 cm l 22 w. unnumbered pages. Many bw, some color illustrations. "This book is the product of a rare and remarkable collaboration of people working in different fields, an artist, a photographer, two designers and a printer, who have been brought together by their mutual esteem and deep familiarity with the ouevre of Berlinde De Bruyckere. First and foremost this is an image book, a book that focuses on the challenging task of rendering and translating the very specific character of the artist's recent group of wax structures, the 'Schmerzensmann.' The photographs were made with a clear idea of the function and meaning of each sculpture and its representation within the book, all in close collaboration with the artist and the book designers. Mirjam Devriendt's photographs explore the bodies of the sculptures, subjecting them to minute scrutiny. Her gaze is capable of penetrating beneath the surface, the skin of a sculpture, as if to investigate the primal source of their disconcerting, cruel, often comforting beauty, as if to look for their 'soul.'" VG, some minor wear and staining to boards.…

Rilegato. Condición: come nuovo. prima edizione. bird presents the culmination of Roni Horn's long-running photographic series of taxidermied Icelandic wildfowl. Photographed at close range against white backgrounds (as though obeying the conventional format of studio portraiture) the birds are viewed from behind, their unique physiognomies and markings resulting in inscrutable shapes and patterns on the photographs' surfaces. Despite the singular form of the title, the birds in this series are presented in pairs, images that are hung side by side one another highlighting the differences and similarities between the two. The gesture of doubling — as an aesthetic and conceptual strategy — has been a recurrent motif for Horn since 1980, a tool that invites careful scrutiny from the viewer, altering the dynamic of the work. Horn's images are accompanied by a text by the writer and curator Philip Larratt-Smith. Avoiding a dense, didactic reading of the series, Larratt-Smith has compiled an extended series of quotes, anecdotes and idioms, garnered from film, literature, photographers' monographs and Horn's own writings. Co-published with Hauser & Wirth, Zürich Out of Print 32 pages Hardback / Clothbound 28 x 30.5 cm English Condition: New. Due to its vintage condition, the book cover shows slight signs of wear (see images); the inside is perfect.…

Hardcover. Condición: Near fine in near fine dj. First Edition. 26 x 33cm 64pp near fine hardback with acquamarine-coloured cloth boards, dust jacket with a reproduction of a Mitchell painting using blues, black, pink, white. Hauser & Wirth Library stamp on bottom right hand corner of front free end paper. Published on the occasion of the exhibition: 'Joan Mitchell Leaivng America New York to Paris 1958-1964' held at Hauser & Wirth, Piccadilly, London 24 May to 21 July 2007. From the jacket notes: 'Joan Mitchell (1926-1992) was one of the pre-eminent painters of the Abstract Expressionist period. She came to attention in the early 1950s when still in her twenties, exhibiting at the Stable Gallery in New York alongside Joseph Cornell and Robert Rauschenberg, but it is only recently that her works have fully gained the recognition that they deserve.' Gorgeous colour reproductions of Mitchell's luscious paintings, plus an essay by Helen Molesworth.…