Write to the booksellers4 books for « kort pamela »Edit
Eugen Schönebeck - The Drawings
Kort, Pamela: Eugen Schönebeck - The Drawings. Exhibition: New York, David Nolan Gallery, 2012. 124 pages, illustrated throughout. Hardback. 24 x 30cms.
I Like America: Fictions of the Wild West
Prestel 2006 In-4 broché 30,8 cm sur 24,2. 380 pages. Très bon état d’occasion.
Très bon état d’occasion
I like America. Fictions of the Wild West.
, Prestel, 2006 Soft cover with flaps, 398pp., 30.5x23.5cm., ills. in col. and b/w., as new. ISBN 9783791337357.
A comprehensively illustrated companion volume to an exhibition that explores the German fascination with the Wild West. Beginning in the 1820s when waves of German immigrants crossed America's high plains, German-speaking Europeans were obsessed with the lives, histories, and myths surrounding the American West. This volume examines and documents that enthusiasm and its origins. Paintings, drawings, engravings, exhibition posters, and photographs by American and German artists such as George Catlin, Karl Bodmer, Alfred Bierstadt, George Grosz, August Macke, Emil Nolde, and Carl Wimar are accompanied by illuminating essays that follow the rise of American and European imagery pertaining to Indians and frontier life. Throughout this wide-ranging volume, Germany's enthusiasm for the Wild West is explored through the filter of American visual culture, resulting in a distinctly German take on a distinctly American myth.
Juerg Judin (Ed.), texts by Juerg Judin, Pamela Kort, Michael Peppiatt
Reference : 59794
Adrian Ghenie: Paintings 2014 to 2019
, Hatje Cantz, 2020, Hardcover, 176 pages , 29,2 x 27,9cm, ge llustreerd, English text. FINE! ISBN 9783775743525.
Ever since his spectacular exhibition at the Romanian Pavilion at the 56th Venice Biennial in 2015 at the latest ,Adrian Ghenie has been known to a broader art audience as one of the most interesting and idiosyncratic painters of his generation. His works?painted in oil, etched, troweled, or thrown?have already found their way to the collections of the Metropolitan Museum of Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris. On the art market they are close on the heels of auction records. Still, neither Gehnie?s subjects nor his technique accommodate general taste: the most important source of his collage-like compositions is the history of the ?century of humiliation,? as Ghenie calls the twentieth century?its criminals and victims. These are joined by positive heroes such as van Gogh and Darwin, along with self-portraits.
