Search Results: Authors starting with G from artecontemporanea

Edition Lebeer Hossmann, Hamburg, 1977. paperback. fine.

This artist's book is based on Cyprien Gaillard's "Geographical Analogies," a collection of 900 Polaroids, carefully and rigorously arranged in a total of 100 showcases, telling many stories about landscapes, monuments, modernist buildings, and architectonic utopias, and just as many stories about decay, destruction, and devastation. As Rein Wolfs puts it in the introduction of this publication "Gaillard's epic work, outmodedly analog … reflects a computation of time that seems to have disappeared …. In the disintegrating medium of Polaroid photography the aspect of disappearance inherent to time is documented and allegedly temporarily halted—until in foreseeable time these originals too will have disappeared beyond recall … Decay, disappearance, remembrance and decline are omnipresent motifs in this work … Numerous devastated concrete landscapes, unfinished holiday developments, monuments, ruins, modernist high-rise estates, cemeteries, landscapes and—as a… Read More

Galerie Buchmann, Basel, 1988. paperback. fine.

Galerie Heiner Friedrich, München, 1975. paperback. fine.

1973. paperback. fine.

ICA Pennsylvania, Philadelphia , 1976. paperback. fine.

Konrad Fisher, Dusseldorf, 1983. staple binding. fine.

Reproducing a recently found 1962 notebook, this small, beautifully clothbound volume reveals a never-before-seen dimension of Gerhard Richter's art. Comic Strip 1962 contains a series of cartoon-like drawings, done in the style of American greats such as Saul Steinberg (hence the artist's cartoonist-style abbreviation of his name to "Gerd" here). The black-and-white drawings generally feature one or many hatted silhouette figures, floating in the air, against bare backdrops or atop planets, with occasional handwritten text (in German, and mostly illegible) interspersed around them. These works, printed at their original size, and made at the outset of Richter's career, greatly expand our picture of the influences and factors at play in his early years as part of the Capitalist Realist movement.Text: Elger Dietmar.pp. 140; BW ills.; paperback. As new, unread.

Le Consortium, Dijon, 1988. hardcover. fine.

Utrechtse Kring, Utrecht, 1972. staple binding. fine.

Bareggi Editore, Verona, 1971. paperback. fine.

Lerici Editore, Roma, 1968. paperback. fine.

Palazzo dei Diamanti, Ferrara, 1972. staple binding. fine.

PAC, Milano, 1984. paperback. fine.

JRP Ringier, Zürich, 2005. paperback. fine. Gianni Motti has celebrated his own funeral, masqueraded as a professional soccer player, spoken in the name of the people of Indonesia at the UN Human Rights Convention, claimed responsibility for earthquakes and repeatedly referred to himself as a kind of terrorist infiltrating various systems to implode them from within. The events he subverts with such surgical precision can be political, cultural or social. Their audiences and their expectations are not to be pandered to, as Motti styles himself not so much as a participant in the culture of spectacle--a court jester--but as an activist who unveils its workings. Which is why his events are most often experienced in photographs made by onlookers or the press. This book brings together for the first time a large selection of images and documentation, an overview of Motti's actions and the art therein.

Onestar Press, Paris, 2004. paperback. fine.

Parkett, Zürich, 1992. paperback. fine.

A&Mbookstore Edizioni, Milano, 2011. paperback. fine.

Studio d'arte Raffaelli, Venezia, 1990. paperback. fine.

Gian Enzo Sperone, Roma / Gian Ferrari, Milano, 1991. hardcover with dust jacket. fine.