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Die neuen Vorschriften der EU fur die Abfallwirtschaft werden in
diesem Buch von ausgewiesenen Experten dargestellt, die diese
Vorschriften zum Teil miterarbeitet haben. Der umfassende Uberblick
bietet dem Leser Rechts- und Praxissicherheit beim Umgang mit den
neuen Regelungen. Vertreter zweier bedeutender Verbande beleuchten
daruberhinaus die Folgen der neuen Vorschriften fur die
Wirtschaft.
John Baldessari is an important American conceptual artists and the last member of the American postwar avant-garde. His large collages, created for the Frankfurt exhibition, draw on masterpieces at the Stadel, from Lucas Cranach the Elder to Maria Lassnig. A multifaceted opposition and juxtaposition of old and new art is revealed by the texts and photographs. By destroying all of his paintings created from 1953 to 1966 in 1970, John Baldessari (*1931) paved the way for an independent and unmistakeable pictorial style between painting and photography, text and image. He employs classic Modernist pictorial strategies such as montage and the integration of everyday elements in order to confront these with artistic practices of the post-war avant-gardes, such as discourses on consumerism and the media. Baldessari intertwines media and materials and thereby combines entirely distinct groups of artistic subjects. In the process, the unambiguousness of the pictorial language has given way to a multi-layered readability.
Few artists have combined conceptual ingenuity with devastating critique as deftly and wittily as Piero Manzoni (1933-1963). Fifty years after his death at the tender age of 29, Manzoni remains unsurpassed as a provocateur: his "Artist's Breath" and "Artist's Shit" editions, which now sell for hundreds of thousands of dollars, are unanswerable satirical attacks on art-world economics and values, and his designations of various persons (such as Umberto Eco and Marcel Broodthaers) as "living artworks" prefigure many strains in performance art. Manzoni thus effected some of the most decisive paradigm shifts in postwar art, something for which he is only rarely given full credit. This comprehensive survey accompanies a major retrospective at the Stadel in Frankfurt (the first major Manzoni retrospective outside Italy in more than two decades), and is published on the occasion of what would have been his eightieth birthday. It reproduces more than 100 works from all phases of the artist's brief but massively influential career, from his early Klein-influenced monochromes (or "Achromes") and the Art Informel years to his role as a leading member of the Zero group (alongside Mack, Piene, Tinguely, Klein, Fontana) and beyond.
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