snoeck verlagsgesellschaft mbh cologne (40 results)

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: new. Paperback. Most important when painting is to switch off your head, to let yourself be guided, says German-Chinese painter Yafeng Duan, who was born in Hebei in 1973 and now lives in Berlin. In what way do the paints participate, how do canvas and paper behave, where does the brush lead the hand? Airy and dense, light and dark, inner and outer world, broad brush-strokes and fine lines in the tradition of ink painting, resistance and flow, solid surfaces and floating colours. All of this, Duan continues, corresponds to the rhythm of breathing in and breathing out. Added to this is the element of chance, which can be brought into play without esoteric connotations, as for instance with the compositional technique of John Cage, who drew on the " I Ching" as a structuring principle. Ideas of form are thus invariably linked to procedural questions: in what way does chance influence the work, how much of this chance is good for it? Originating from Taoism, the principles of yin and yang are then almost inevitably invoked. Originally, these terms stood for the darkness and the south bank of the river, for a " shady place" (yin) and, in contrast to this, for the " brightness of the sun" (yang). Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Austin Eddy's painterly oeuvre formulates contradictions, drawing on Cubist traditions and seeking a balance between figuration and abstraction. His figurative elements fold into nocturnal landscapes, buildings become isolated portraits of seemingly claustrophobic spaces, floating clouds resemble bulbous fingers- and all stand at once for portraits, still lifes, and landscapes. Austin Eddy's work references American modernism both formally and conceptually, yet there is something beyond that, which the artist describes as follows: " I think the paintings are constantly trying to navigate a road between reality and abstraction. I am interested in exploring the limits of how far can you stretch the conversation between the two. The paintings are rooted in real life narratives but not necessarily tied to representing the world truly. To keep them tied to the earth I try to use time. Light plays a crucial role in understanding how these images work. Not only in the sense of time of the day, but also addressing the possible length of time something could be happening. Trying to capture an afternoon in a moment, or the franticness of flight in the stillness of a painting is exciting to me. Because I have pushed to simplify the language in the paintings I find it important that they are like pulled back to the natural world through the color of time." Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. ON STAGE is the title of Andreas Schulze's exhibition, with which he turns Kunsthalle Nue rnberg into a stage for his surreal visual worlds. Time and again, the great dazzling world of entertainment coincides with trivial everyday aesthetics, art-historical references collide with banal ornaments and knickknack. Large-format images of neat-looking car bodies jostle bumper to bumper for a photograph for a folding panel of a room-filling traffic jam. But Andreas Schulze is taking us for a ride; his images of mobility, progress, dynamism, and status look almost childlike. The artist has always had an eye for the absurdities of our everyday lives. In 1989, he still said that the avant-garde moved between two extremes: intellectuality and crude banality. He, on the other hand, has always sought a bourgeois mediocrity. He has since been quoting it with an amused shrug: amorphous tubes, bulging objects, stylized waves, points of light, misty areas, and little clouds of exhaust gas arrange themselves in peculiar landscapes. Brick walls, velour carpets, floor lamps, rubber trees, and all manner of everyday objects are the stage for the familiar, which suddenly appears strange and combines with humor and inscrutability. After all, much that at first seems carefree does actually not represent a visual feel-good place. Andreas Schulze's pictorial concept is banal and enigmatic, peculiar, yet despite all its familiarity it does evoke a subliminal sense of unease. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. When asked about the role of the paradise in his work, Erik Schmidt answers his interviewer Adriano Sack: " Trying to stage life as a paradise is an important motivator for me. Whenever I go somewhere, I feel this total fascination, even if it's only a palm beach." Erik Schmidt creates works that explore symbolic processes within various social systems. The immersion into foreign contexts plays an important role in his paintings, videos, photographs and drawings. Be it in the crowded cityscape of Tokyo, in the camps of the American Occupy movement, with wine and olive farmers in the West Bank, in aristocratic hunting circles of his North Rhine-Westphalian homeland, or under the umbrella of mighty palm trees - Schmidt is an observer and tends to deliberately assume the role of the outsider. This detached attitude provides him with insight into group dynamic processes, but also allows him to unravel a wide variety of cliche s, stereotypes, codes, rituals, norms, patterns, and conventions. And at the end of a long series of works there are now palm trees: " They are square and in the middle is the nut." Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. After World War II, the white cube acquired the status of an aesthetic convention. Dagmar Varady's studio, impressively presented in the book, though seems to be a place where art is produced and also an " exhibition space" . Rather than being viewed as completed works or paintings, her works are " permanently in motion", as the artist emphasizes. Thus, in the studio, a personal (knowledge) order emerges in the context of art, something along the lines of " principles in chaos", whereby guided chance (serendipity) also comes into play, which is quite evident in the structures, folds, and progressions in her series of " Brilliant-Blue" paintings. With all the breaks, deviations, intuitions, exceptions, and ambiguities that occur in her art, Dagmar Varady has set out on the " path of unintentionality" (Ernst Bloch) - an unintentionality that promotes the processuality of art, but which in turn would not come about without a steady place of production, the studio. There, motifs meander from picture to picture in an indeterminate production process, enter into dialogue with one another, and undergo a protean transformation into ever new variants. As such, Dagmar Varady's studio is not simply a place of work but, in the artist's own words, her " navel to the world" and, as such, a kind of laboratory in which intrinsic processes play a significant role in determining artistic attitudes and objectives. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. The focus of Bertram Hasenauer's work is the portrait, or rather the figure, although the latter, placed in front of a monochrome white or dark background, does not primarily function as a (naturalistic) depiction, but rather seeks to convey the idea of the portrait as such. Bertram Hasenauer thereby simultaneously offers us a highly differentiated view of the respective young persons, one that emphasizes what remains; all spontaneity and dynamism has departed from them, they appear androgynous and seem to be floating in space. Art critics have used the term Magic Realism in view of the almost metaphysical distance from reality that the figures seem to have moved to, a concept that the artist is said to have expanded to include a spiral of the enigmatic. Bertram Hasenauer uses pictures from journals and magazines as the basis for his work. He applies his colors as a thin film on a finely structured primer. The enigmatic impact of what, according to the artist, " appears to be a portrait turns out to be the idea of a possible portrayed figure; what appears to be the image of a human figure immediately disappears into the vague spheres of the memory of a figure." Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Jonathan Laskers work is often considered bizarre, yet it is one of the most influential in contemporary abstract art. In the late 1970s and early 1980s, a period when everything was in flux, when Abstract Expressionism, Minimalism, and Color Field painting were no longer formally binding, Lasker succeeded like no one else in realizing themes such as referentiality, figuration, genuine materiality and corporeality, even aspects of the decorative and pictorial. The tastefully executed paintings and carefully crafted objects of the 1960s had reached the end of their days in terms of form; there was a recourse to styles and materials that not only served artists as art historical sources but, as New Image Painting, patterns, and decorations, resulted in new artistic content. In short, abstraction as understood and applied by Jonathan Lasker had reached the postmodern age. This volume shows a series of beautiful preliminary studies of this process on paper, as well as large-format oil paintings from 1977 to 1981 that demonstrate their their radical pictorial implementation. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

1. Auflage. 24 x 17 cm. 214 S. OKarton mit OUmschlag. Umschlag bzw. Einband minimal gebrauchsspurig, gutes Exemplar. Kienbaum Artist's Books. Durchgehend mit ganzseitigen Farbabbildungen versehen. Sprache: -.

Hardcover. Condition: new. Hardcover. The collection of Reinhard Onnasch demonstrates an astounding art and culture transfer between America and Europe. Published in conjunction with the exhibitions at Hauser & Wirth in London in the fall of 2013 and in New York in early 2014, Re-View: Onnasch Collection is the first in-depth study of Reinhard Onnasch's activities as a gallerist, art dealer, catalog publisher, and art collector. Its chronology presents a wealth of previously unpublished documents and photographs, and includes, for the first time in English translations, several interviews with Onnasch. From these conversations one gains a sense of the passion with which he built his remarkable collection. Works that could be considered exemplary of Pop art or Minimalism are featured alongside important works of color-field painting, Fluxus, assemblage, and Abstract Expressionism, which the publication illustrates with new photographs in honor of the occasion. The works reproduced in the catalog represent a veritable vanguard of the twentieth century's most important art movements. One of the first Germans to open a New York gallery after World War II, Reinhard Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Sung Tieu (b. 1987) is a German-Vietnamese artist based in Berlin. Her artistic practice spans multiple mediums, including sound installations, video, sculpture, photography, performance and public interventions. She is a 2018 graduate of the Royal Academy of Arts London. With Civic Floor, the MIT List Visual Art Center is presenting the US debut of recently co-commissioned works by German-Vietnamese artist Sung Tieu in July 2023. Tieu employs sculpture, drawing, sound, video, and installation to examine a wide range of subjects in which social or political power is articulated through sensory and psychological realms. Perception is a key node in Tieu's work as she elaborates the often alienating effects of sound, architecture, design, and language. Working across various media, Tieu crafts a spatial narrative in each of her exhibitions that reflects her research into bureaucratic systems and their affective spaces as well as her lived experience with them. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. This Reader, edited and introduced by noted art historian and critic Gilda Williams, gathers the key critical writings across the artist's essential works as explored through the lens of art history, post-colonial theory, film analysis, and more. Catalogue essays and exhibition reviews on individual works are set alongside Tan's own substantial body of writing: essays, letters, scripts, project notes, as well as discussions of other -artists' work, from Chantal Akerman to Jeff Wall. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: New. 1st Edition. First edition, first printing. Hardcover. Photographically illustrated paper-covered boards; no dust jacket as issued. Photographs by Cuny Janssen. Text (in English) by Craig McEwan. Unpaginated (56 pp.), with four-color plates throughout. 10 x 14-7/8 inches. New. Portraits and landscapes taken in Prince Albert, South Africa in 2005. From the publisher: "'Creaking Groaning Folding Rock . continental lift, tilt and breakup--the beginning of the end for the great continent Gondwana. New mountains form--Swartberge, Witteberge. Extremely old Archaen seabed, layer upon layer of river and lake shoved upright--black, brown, pink, rippled rock ridges and walls marching across torn and devastated landscapes. Eroding floods, mud laden escaping waters tearing across the old glacier produced Dwyka Karoo. Trapping, entombing survivors of the great Permian-Triassic green death, to add another layer to the richest fossil beds in the world. Volcanic devastation and lava flows complete the Karoo rock strata. Our ancient ancestors, leathery brown, hunting and gathering, entering the Karoo with its good years and its bad, its wet and its dry. Eyes across the endless rock, coarse bush, occasional grass and the mighty herds of antelope. Wandering far and wide, populating the world.' The young Dutch photographer Cuny Jansen was Thomas Struth's assistant; she is living in Amsterdam once more and has just had a baby daughter (2007) after a six month-long sojourn in South Africa, taking photographs of a very own deserted cosmos and processing them in a wonderful, beautifully printed and elaborately designed book.".

Paperback. Condition: new. Paperback. Clouds - without us being aware of it - have an elementary significance for us. We inscribe our wishes, hopes and fears into their fleeting, indeterminate diversity. The artistic "discovery" of the cloud began in the Middle Ages and intensified in the 19th century, parallel to its growing importance in the natural sciences and humanities. In the context of globalisation, virtualisation and 20th century theory, the cloud is now developing into a model for describing the complexity of contemporary conditions. It is becoming a symbol of networked information architecture, geopolitical relations, and new concepts of space. The book deals with the phenomenon of the cloud from a contemporary perspective, it goes much further than the customary cloud images. Using a variety of media, the contributions range from artistic translations of the natural motif to the technical infrastructure of the clouds and their affects. The works presented combine ecological, socio-political, economic and technological aspects. The focus is on exploring the various perceptions, materialities and functions of the cloud(s) today. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: new. Hardcover. Birgit Werres can do magic. She manages to transform a simple wire into a sweeping line in space, to unite a ball of tension belts in the dynamic and complex interplay of forms, colors and textures of a cotton net. Playful and austere, her works unfold a dynamic in the space, which may be described by the fullness of movement of the Baroque just as much as by a minimalist decision that seeks to dispense with everything unnecessary and trusts in the potential of the material. Since the 1990s, the artist has been roaming the streets, construction sites, industrial wastelands, factories and production facilities in search of materials for her sculptures and wall objects. For she practices recycling of an entirely different kind: Metals, plastics, containers, wire and indefinable "stuff". These are telling relics, remnants that bear traces of use, minimalist as well as beautiful It carries a story within itself and at the same time becomes an object that assumes a new position. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Condition: new. Paperback. Joan Miro is known for his colourful dream worlds. Especially after he was at long last able to move into his own large studio in Palma de Mallorca in 1954, the Catalan artist extended his concept of painting in a previously unfamiliar way. He felt that his conventional easel painting had become constraining, and he sought new expressive forms. Henceforth, for example, rather than using the brush he began ' painting' with fire and scissors. The great admirer of Paul Klee never tired of questioning his own artistic practice and constantly trying out new techniques and materials. This moment of self-criticism and new beginning, which started with his move to the new studio in Palma, forms the starting point for the exhibition and this book. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Paperback. Condition: new. Paperback. The Deichtorhallen Hamburg are showing the largest solo exhibition of the artist Katharina Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Condition: new. Paperback. Do ra Maurer (born 1937, lives in Budapest) is considered a prominent figure on the Hungarian neo-avant-garde scene. She is one of the artists who have been taking progressive paths outside of Hungary's official state cultural policies since the 1960s. Her work in the mediums of print- making, photographs, film, performance art, and painting features a conceptual approach. Major aspects are perception, movement, displacement, and transformation. In the early years of West-Germany, abstract art was introduced as a political new beginning in that it represented the so-called open society. Accordingly, numerous collections in German museums are oriented toward this, including the one at the Kunsthalle Bielefeld, whose building was designed by the US-American architect Philip Johnson. While abstract art in the West was considered " free of ideologies" and instrumentalized as such, abstraction in countries such as Hungary, which was part of the Eastern bloc at the time, certainly had an " oppositional" connotation. Due to both the non-representational nature of her works as well as her contacts and travels in the West prior to 1989 (permitted thanks to her Hungarian-Austrian dual citizenship), Maurer occupies a special position within the Hungarian art world, which in those days was mainly dominated by Socialist Realism. In her experiments in photography and film in the 1970s, as well as in her abstract, geometric works based on a process of displacement, there are obvious parallels to Western European and US-American post-war art. In fact, however, her oeuvre is inconceivable without her experience of life under the official Hungarian system during the socialist period. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Paperback. Condition: new. Paperback. Thomas Ruff (born 1958) and James Welling (born 1951) are two of the most well-known photographic artists of the present day. They explore in their works the conditions of visual perception, also in relation to our use of the photographic apparatus, and the conditioning of our view of the world through photographic images. The exhibition " Dark Matter. Thomas Ruff and James Welling" and the accompanying catalog of the same name focus on works that wrest new possibilities from the photographic image and expand our capacity for imagination. We perceive our environment subjectively; we see and feel it against the backdrop of what we can grasp and understand in images and words that have been handed to us. About eighty percent of the matter in the universe consists of a substance we know little about: Dark Matter. Does the same apply to the photographic image? Does it hide more than it shows? Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Condition: new. Paperback. Nicole Eisenman, born 1965 in France, lives in New York, her work is captivating because of its fascination with the human condition, questions about interpersonal interaction and the precise observation of processes of alienation in civilisation. In her drawings, paintings and sculptures, the artist combines elements from pop cultural contexts (political satire, comics) with traditional art historical references to form a new unity. "Koepfe, Kusse, Kampfe" (Heads, Kisses, Struggles) brings together works from all of Eisenman's creative periods. Against the backdrop of her artistic practice, in which various stylistic and compositional elements of historical painting become visible alongside pop-cultural influences, the show and the book are combine this with works of classical modernism from the collections of the cooperating museums. Through these selectively introduced historical works, the exhibition and the book, together with Eisenman's oeuvre, opens up a resonance space spanning a century in which social upheavals are presented in their urgency, but also with hope and confidence. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condition: new. Hardcover. Outsider and Adventurer Daniel Richter has remained true to his characteristic outsider and adventurer theme in his latest paintings. At centre of the works we have the figure of the "Levantine Old Man of the Mountain with the Assassins." It is that attested story of young Muslims in the Early Middle Ages who, as weak-willed agents of the leader of the archaic sect in a parallel universe--half- paradise, half-brothel--are being dosed up on hashish and who then, having come down from their high and as suicide attackers or terrorists, plunge the Islamic world into a state of fear and panic. This catalogue presents the latest series comprising many large-format paintings for the first time and accompanies the series' premiere held at the Kestnergesellschaft in Hanover. A spectacular, oversized format guarantees optimal reproduction value; for the time being, this book is the only one available on the artist's work. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Condition: NEW. Paperback. I prefer a doomsday mood and I love to laugh at bad newsIt was arguably during the 1960s that painting got caught up in the loop of permanent rehash and constant transformation, which--in contrast to the hypothesis of progress--forms the working principle of postmodernism. Peter Saul (* 1934 in San Francisco) is one of the most important protagonists of this radical change that is often, and rather inaccurately, connected exclusively to the advent of Pop Art. With his painterly and graphic work, Peter Saul has created a complex amalgam of high and counterculture, combining comics, Pop, surrealism, and abstract expressionism with the radical (and in part quite trivial) social critique of the Haschrebellen (Hashish Rebels). As a matter of course, such a painter would have never been a champion of American troops in Vietnam, never a party-supporter of Reagan or Bush, but politically reducing his work to agitprop would mean overlooking the hedonistic impulse of a baroque compositional joy within his images. After publications on the work of the last few years in the USA, this first individual exhibition in Europe including this catalog, devised by Martina Weinhart and the Schirn, focuses on the work of the 1960s, as sex and crime, politics, drugs, karma and revolt first began to penetrate the world. Some of Saul's works, in their pastel tones, may be reminiscent of Philip Guston, the other great US painter of late glory. Asked about this, Peter Saul only said that Guston's paintings had never interested him; in his opinion they were too softcore. He thought his attitude towards the subject was too amusing and that personally he rather preferred a doomsday mood; he said, he loved to laugh at bad news.Exhibitions: Schirn Kunsthalle Frankfurt, June 2 - September 3, 2017 Deichtorhallen Hamburg/Sammlung Falckenberg, September 30, 2017 - January 28, 2018 Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.