Gerhard Richter

René Block
Ich Kenne Kein Weekend. Schriften und Dokumente Seit 1964


Having represented Beuys, Richter and Polke, German gallery owner , art publisher, art collector and curator René Block (born 1942) ranks among the central figures of the 1960s avant-garde. This publication collects writings by and interviews with Block, scanned from their original publications and organized chronologically, as well as an illustrated published history, artist portraits (taken by Block), performance ephemera, bibliography, and more. An enormous book that, via Block, encompasses the work of so many important movements and figures of 1960s – 1990s art.
Although primarily a German language publication, many of the original articles are in English. Regardless of language, the valuable historical listings translate.

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René Block : Ich Kenne Kein Weekend. Schriften und Dokumente Seit 1964
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Gerhard Richter
Ulrich Loock, Denys Zacharopoulos (Eds.)

Major monograph published in Germany in 1985 on German painter Gerhard Richter. Published in an edition of 3000 copies, this hardcover volume (wrapped in illustrated dust jacket) is lavishly illustrated throughout with Richter’s entire career of work up until 1985, across his many major works of abstraction and photorealism, as well as his glass pieces and photography, threaded together with extended examinations by Ulrich Loock and Denys Zacharopoulos, biography, exhibition list, et al.
All texts in German.

As New copy.

Ulrich Loock is an art critic and curator, lecturer at the University of the Arts, Bern, lives in Berlin. He has been the director if Kunsthalle Bern 1985 – 1997 and co-director of the Museum Serralves, Oporto.

Denys Zacharopoulos is an art historian and theorist. He works as Professor of Art History, author, and curator, amongst others at the 48th Biennale in Venice (Italy) and documenta IX in Kassel (Germany).

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Gerhard Richter (1985)
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Illusion and Reality

Major Australian touring exhibition exploring realism and illusion in art (across new realist painting, pop, photography, conceptualism, minimalism, abstraction, ceramics, even architecture) with a catalogue of 71 works by 44 international artists and groups. Introduction and notes on the artists by John Stringer; statements by Audrey Flack, Stephen Posen and Josef Raffael; biographical notes on the artists, including exhibitions and collections; statement on realism by Raymond Williams. Exhibition organized by the Australian National Gallery, Canberra, and shown at seven locations throughout Australia.

Artists: Ian Burn, Gerhard Richter, Ed Ruscha, Joseph Kosuth, Bernd and Hilla Becher, Marilyn Levine, Dale Hickey, Jenny Watson, Jan Dibbets, Chuck Close, SITE, Michael Snow, Tom Wesselman, Claudio Bravo, Malcolm Morley, Michael Snow, Robert Bechtle, Tom Blackwell, Christian Boltanski, Santiago Cardenas, John Clem Clarke, William Delafield Cook,  Robert Cottingham, Don Eddy, Richard Estes, Audrey Flack, Ralph Goings, Jan Groover, Duane Hanson, Peter Kennedy, Ron Kleeman, Richard Larter, Victor Lance Henderson, Terry Schoonhoven, Richard McLean, Jud Nelson, John Okulick, Philip Pearlstein,, Michelangelo Pistoletto, Liliana Porter, Stephen Posen, Joseph Raffael, Ben Schonzeit, Paul Sharits, Sonia Landy Sheridan, and more.

* Condition: Very Good (light tanning/wear) – All care is taken to provide accurate condition details of used books, photos available on request.

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Illusion and Reality (1977)
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TEXTE ZUR KUNST #101
MARCH 2016 “POLARITIES”

 


ISSUE NO. 101 / MARCH 2016 “POLARITIES”

Issue No. 101 of Texte zur Kunst takes “Polarities” as its theme – a term we associate with what’s unfolding around us right now: ideological polarization, from Pegida to Donald Trump. How do we understand the growing gap between the ideals of tech/smooth space (where the art world tends to reside, swiftly neutralizing any resistance as “content”) and the striated regions of material unrest? How do we understand “polarization” despite our dominant, and inherently continuous, neoliberal system? Given these macro conditions in which art critical and art historical discourses are currently being formed, and within which they will need to position themselves, could the image of polarization be something not to avoid but to engage; perhaps even a potentially generative model for times that are anything but ideology-free?

TABLE OF CONTENTS

PREFACE

ET SOUS LA PLAGE … ? / Philipp Felsch interviews Timothy Brennan on the state of left theory

HELMUT DRAXLER
ALWAYS POLARIZE? / Conditions and limitations of a model of argumentation

LIBERTY, EQUALITY, SECURITY / Four questions for Carolin Emcke

ENTER THE VOID / Roy Scranton and @LILINTERNET on hyperreality and reflexive narrative

DANIEL COLUCCIELLO BARBER AND DAVIS RHODES
THE TERROR WITHIN

ANTEK WALCZAK
GLOBALLY POSITIONED

GABRIELE WERNER
HEIMAT / Notes on the enduring renaissance of an idea
BILDSTRECKE

GERHARD RICHTER
“12 PHOTOGRAPHS OF ULRIKE MEINHOF” / Taken in October 1966 for “Konkret” by Inge-Maria Peters
NEW DEVELOPMENT

NATIONAL CUSTOMS / Sven Lütticken on Germany’s Kulturgutschutzgesetz
ROTATION

IST DER MENSCH DOCH NOCH ZU RETTEN? / Svenja Bromberg über Nina Powers Aufsatzsammlung „Das kollektive politische Subjekt“
HEY MOTHERFUCKERS, HERE IS YOUR ­GENERATIONAL NOVEL / Tobias Madison über Seth Prices Roman „Fuck Seth Price“

SHORT WAVES

Hans-Jürgen Hafner über Daniel Richter in der Schirn Kunsthalle, Frankfurt/M. / Astrid Mania über Verena Pfisterer bei Exile, Berlin / Ana Teixeira Pinto on Július Koller at the Museum of Modern Art, Warsaw / Beate Söntgen über Joan Mitchell im Museum Ludwig, Köln / Daniel Keller on Peter Fend at Barbara Weiss and Oracle, Berlin / Manfred Hermes über Anne Speier bei Silberkuppe, Berlin

REVIEWS

SPERRIGE NAHEVERHÄLTNISSE / Eva Kernbauer über „to expose, to show, to demonstrate, to inform, to offer. Künstlerische Praktiken um 1990“ im Mumok, Wien
DER GESCHMACK DES PRIVATEN / Barbara Buchmaier und Christine Woditschka über die Sammlung Würth im Martin-Gropius-Bau, Berlin
BENEFITS / Sarah Lookofsky on “Collected by Thea Westreich Wagner and Ethan ­Wagner” at the Whitney Museum of American Art, New York
NOBODY EVER DID WHAT WE DID / David Rimanelli on Dash Snow at the Brant Foundation Art Study Center, Greenwich, Connecticut
MALEREI MALGRÉ TOUT / Maria Muhle über „Painting 2.0“ im Museum Brandhorst, ­München
PUNK’S NOT DEAD, JUST DIFFERENT / Gili Tal on “Rum, sodomy, and the lash” at Eden Eden, Berlin
WITHIN YOU WITHOUT YOU / Jenny Nachtigall on Carolee Schneemann at Museum der Moderne, Salzburg
FREMDE ZUNGEN / Yilmaz Dziewior über „Slip of the Tongue“ in der Punta della Dogana, Venedig
LOCAL UNION / Rhea Anastas on Union Gaucha Productions at Artists Space, New York

EDITION

THEA DJORDJADZE
DANA SCHUTZ

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