Johnen jörg (16 Ergebnisse)

172 pp.; 25.7 x 21.4 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Issue edited by Bice Curiger. Essays "Richard Prince: Notes Toward A Supreme Fiction," by James Lewis; "Real Monochrome Images," by Helmut Friedel; "Time Of Painting, Time Of Representation," by Ulrich Loock; "Franz Gertsch," by I. Michael Danoff; "How Can You Tell A Franz Gertsch From A Chuck Close?," by Amei Wallach; "Engraver: A Process Of Purification," by Rainer Michael Mason; "Lack Of Faith," by Mac Freidus; "Street And Interior," by Jörg Johnen; "Thomas Ruff: Spectacle And Surveillance," by Trevor Fairbrother / Norman Bryson; "The Invisible Dragon," by Dave Hickey; "Interview James Rosenquist," by Paul Taylor; "Les Infos Du Paradis: Inquiry," by David Lynch; "Cumulus From America," by Martin Guttmann / Michael Clegg "Cumulus Aus Europa," by Claude Ritschard. Insert by Liz Larner. Text in German and English. Very Good / Fine. Small prrinter's blemish to bottom center of front cover as seen in image. Contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.…

1st edition, hardback, large 8vo, 48pp, 16 plates, text in English and German, clean and tight, no inscriptions, Very Good condition / no dustwrapper. ISBN: 1873654022.

Paul Mertes Stipendium 1991. AK. Bonner Kunstverein, Bonn, 5.12.1991 - 2.2.1992. Blauer OPbd. 30 Seiten mit mehreren farbigen Werkabbildungen sowie Biographien beider Künstler. - 24 x 18. * Sauber und sehr gut erhalten .

1. Auflage. 163 Seiten. OBr., Oktav, 163 S.; Umschlag mit leichten Kratzspuren, sonst gut erhaltenes Exemplar. Aus der ersten Auflage von 800 Exemplaren, beiliegend ein Bild von Thomas Ruff.

Zustand: New. In English.

Zustand: New. First publication about the young rising star Johannes Nagel of the German ceramic scene, whilst examining the associations between form and idea.Zufall und Geste spielen im kuenstlerischen Schaffen des Keramikers Johannes Nagel (geb. 1979) eine zentrale.

Köln; Jörg Johnen, no year [1980]. Diss. 24x17 cm. 74, (2) pp. Illustrated. Original printed wrappers. A fine copy. No. 338 of 500 issued copies. Johnen's ". dissertation at the University of Cologne considered Tuttle?s early artistic practice as aligned with 19th-century notions of an artist?s 'absolute' freedom and individuality" (Smith, "Imaging the In-Between: the Serial Art of Richard Tuttle", page 8). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.…

Broschur. Zustand: Gut. 73 Seiten. German and English. - - Gutes Exemplar, etwas abgegriffen. - - Modern ceramics has a holy trinity: three traditions that have dominated the discipline for over a century. The first is Japanese ceramics, particularly wares associated with the tea ceremony, which possess a sort of perfect imperfection, easy to appreciate but difficult to master. Second, the rationalism of the Bauhaus, oriented toward clarity, geometry, and directness of form. And finally, Abstract Expressionism, with its individualism, gesture, and dramatic intensity. Imagine these three streams coursing into the just-arriving present, then joining into a single mighty flow, and you will begin to understand the work of Johannes Nagel. He has been influenced by them all, via a curious geographical and professional itinerary. Though born in Jena, he received his initial training in Quebec, under the Japanese potter Kinya Ishikawa. It was a fortunate first connection, for his teacher gently steered him away from narrow perfectionism. (Im the one who criticizes your work, he remembers Ishikawa saying. You should just be enthusiastic.) At this early stage, Nagel was sufficiently entranced by Japanese aesthetics that he even considered apprenticing with Warren McKenzie, the leading exponent of Japanese-derived aesthetics in America. Instead, he ended up returning to Germany, studying at the University of Art and Design in Halle, where he has been based since. It was at this point that Nagel began learning about Bauhaus precedent the crisply delineated forms of Otto Lindig and Marguerite Wildenhain, often conceived with an eye toward serial production. In the postwar era, this formalist strand had been carried forward by figures like Beate Kuhn in West Germany, while in the East (where Halle is located), there was a pronounced tendency toward figuration, under the leadership Gertrud Möhwald. (Most of the older ceramists that Nagel encountered in Halle were students of Möhwald.) At a time when explicitly political art was verboten, ceramics could fly under the radar of official Communist censorship, expressing a haunting existentialism with tacitly political implication. To this already dynamic mix of influences, Nagel soon added the ideas of the California clay revolution of the 1950s and 60s, as exemplified by Peter Voulkos and Jun Kaneko. Inclined even in his early career toward loose and experimental work, Nagel gravitated to this precedent, taking on its muscular abstraction and improvisatory composition. He came to understand how energy could be stored in the clay, and how familiar forms handles, rims, spouts could be transformed through sculptural intelligence. Speaking of transformation it is one thing to be exposed to multiple precedents; another to try to merge them; a third still to build something new, making ones influences more than the sum of their parts. For Nagel, the crucial breakthrough came when he began experimenting with sand-casting. Well known to metalsmiths, this technique is not commonly used in ceramics (who typically use plaster molds). Nagel had briefly flirted with the process more than a decade ago, but it was only relatively recently that he began a deeper exploration of its possibilities. At a certain level, his technique is simple: he digs a hole into a box of sand, fills it with liquid slip, and then, after allowing some drying time, allows the extra slip to run out of the bottom. Enough clay clings to the interior of the mold that he is left with a thin-walled object, which traces the interior volume of the shape he has excavated. ISBN 9783897905221 Sprache: Deutsch Gewicht in Gramm: 450.…

mit zahlreichen Werkabb., 74 Seiten, Zustand: sehr gutes Exemplar, leichter Berieb des weißen Umschlags. Widmung von Johnen auf dem Vorsatz. Sprache: Deutsch Gewicht in Gramm: 450 24,0 x 17,0 cm, Broschiert, Softcover/Paperback limitierte uns nummerierte Auflage, 500 Exemplare, hier Nr. 148..

Eigenverlag, Köln o.J. (1980). 8°. 74 Seiten, 1 Blatt. OBroschur. Mit zahlreichen Abbildungen. Eines von 500 Nummerierten Exemplaren.

Zustand: Sehr gut. Erstauflage / First edition. Bll. + 192 S. inkl. Impressum, mit Text u. mit farbig. Fotos der Werke u. Installationen u.a. * Jörg Johnen gründete 1984 mit Rüdiger Schöttle in Köln eine Galerie; Von 2004 bis 2015 hatte die Johnen Galerie ihren Sitz in Berlin, bevor sie von der Galerie Esther Schipper übernommen wurde. Er schenkte 2023 die Städtischen Galerie im Lenbachhaus und Kunstbau München Teile seiner Sammlung zeitgenössischer Kunst; Die Schenkung umfasst 64 Werke von 26 Künstlerinnen und Künstlern, darunter Arbeiten von Maria Bartuszová, Katharina Fritsch, Prabhavathi Meppayil, Wiebke Siem, Mario García Torres und Jeff Wall. Johnens Schenkung ist nun in der Ausstellung "Fragment of an Infinite Discourse" zu sehen. Sprache: Deutsch Gewicht in Gramm: 510 Kl.-4° (22, 8 x 16, 5 cm), OIll.-GanzKarton (Gebunden/Fadenheftung) mit Titelung. Gut bis sehr gut erhalten.…

Org.-Broschur. Zustand: Sehr gut. 163 S. : Mit Farbabb.; 20 cm + 1 Beilage (Bild von Thomas Ruff aus der Serie "Tableaux chinois") Frisch und sauber. Sprache: Deutsch Gewicht in Gramm: 550.

361 pp.; 26.9 x 21 cm.; glue bound; black-and-white; edition size 950; unsigned and numbered; offset-printed Artist's book / catalogue raisonné of the drawings of Richard Tuttle. Texts by Richard Tuttle, Gianfranco Verna, Jörg Johnen, Jan Hoet and Roland Jooris. Interview with Tuttle by Jürgen Glaesemer. Includes list of collectors and biographical data. "The present book documents 290 drawings done between 1968 and 1976 by Richard Tuttle. This group of drawings doe not represent a selection based on specific criteria of quality from the artist's far more voluminous oeuver: rather, the 290 full-page plate illustrate "List of Drawing Materials of Richard Tuttle," which Annemarie Verna published on January 3, 1977. For that reason, the list is included again at the beginning of the book. It is in some respect central importance to the entire undertaking, and functions at the same time as a point of departure and document of it. . " -- from book's foreword. Texts in English and German. Good / Very Good. Light edge wear and bumping of upper left corner along with 6 mm. tear to spine. Bumping of lower right corner of publication carrying through from covers to interior pages. 1.5 cm. blue pen mark on inside front cover, contents otherwise clean and unmarked. Number 284/950. Due to size and weight additional shipping charges may be required for international orders.…

Softcover. Zustand: Gut. 192 S. Gutes Exemplar, geringe Gebrauchsspuren, Cover/SU berieben/bestoßen, innen alles in Ordnung. Z260227ah140 ISBN: 9783753300405 Sprache: Deutsch Gewicht in Gramm: 304.

Zustand: Sehr gut. 1. 280 S. Gebrauchtes Exemplar in sehr gutem Zustand. KEINE Eintragungen/Markierungen. - Wir versenden aus unserem deutschen Lager heraus in plastikfreien oder wiederverwendeten Polstertaschen. Sprache: Deutsch Gewicht in Gramm: 788 Taschenbuch, Maße: 14.8 cm x 2 cm x 22.1 cm.

Zustand: gut. 2018. Marmor für alle: Zur Kunst im öffentlichen Raum in Berlin Zur Kunst im öffentlichen Raum in Berlin In deutscher Sprache. pages.