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    “In December 1968, the American artist Robert Smithson embarked on a field trip to the huge industrial complex in the Ruhr district of Germany. His local guides were the Düsseldorf-based artist duo of Bernd and Hilla Becher, and Konrad Fischer, in whose Dsseldorf gallery Smithson was scheduled to exhibit. The Bechers had begun their own project of photographing the vernacular industrial architecture of Northern Europe in the early 1960s, and had already spent several months photographing at Oberhausen as well as at adjacent industrial sites. The different series of photographs made by Smithson and the Bechers of the same site foreground their respective preoccupations with the industrial landscape and the process of production and entropy, with systems and their inevitable dissolution. Their contrasting bodies of work embody alternate perspectives on time: the Bechers’ sense of historical time and Smithson’s of the geological. Though formally divergent, each artist’s work comprises a radical rethinking of classical notions of beauty and landscape.”

  • 200,00 kr.

    “Smithson’s pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the limitations of the museum prefigures key themes in postmodern criticism while underscoring the uniqueness of Smithson’s own work as an artist, filmmaker, and writer. Gary Shapiro’s elegant and incisive study of Smithson’s career is the first book to address the full range of the artist’s dazzling virtuosity. Ranging from Smithson’s best known works such as “Spiral Jetty” and “Partially Buried Woodshed” to his photographs, films, and theoretical readings and writings, Shapiro’s masterful book analyzes Smithson’s art in relation to the legacy of American art of the 1960s and central philosophical themes in its contemporary reception”

  • Out of Stock

    Robert Smithson (1938-1973) – “an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty – a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake – is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson’s work. Mirror-Travels encompasses the full span of Smithson’s career, offering a close analysis of the artist’s working model of history and featuring comprehensive case studies of three of his most influential works: “The Monuments of Passaic”, “Incidents of Mirror-Travel in the Yucatan”, and the Spiral Jetty. Incorporating abundant new material from Smithson’s personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.”

  • Out of Stock

    Michael Heizer (Earthworks. Sculptures. Paintings. Projections. Etched Glass. Plates. Etchings). Essen: Museum Folkwang & Rijksmuseum 1979. 4° in wraps as issued. 116 pages, richly illustrated, partly in color. Text in both Dutch, German and English with two texts Zdenek Felix: “Mass, Time and Space” und Ellen Joosten: “Displaced – Replaced”.…

  • Out of Stock

    Text by Mark C. Taylor. “Michael Heizer: Double Negative: Sculpture in the Land”. Los Angeles: Museum of Contemporary Art, 1991. Large squarish hardcover, bound in light brown paper covered boards  in the original printed paper dustjacket with a mylar protection layer. 80 pages, richly illustrated. Text in English. Excellent clean…

  • 100,00 kr.

    Chicago: Donald Young Gallery, s.d. (1987). Oblong in wraps. (24) pp. Illustrated throughout. Near fine clean copy 1st edition  

  • 100,00 kr.

    Edited by B. Tufnell, B. : RICHARD LONG. Selected Statements & Interviews. London, Haunch of Venison, 2007. Oblong 4to in wraps as issued. 127 pages, 20 illustrations in black & white. Fine copy 1st edition

  • 350,00 kr.

    “Earthworks: Art and the Landscape of the Sixties”. Berkeley: University of California Press, 2002. 4to hardcover with jacket. 316 pages. Illustrated. Fine clean copy First edition, hardcover “Suzaan Boettger offers the first comprehensive history of the Earthworks movement in the United States, providing a fascinating and in-depth analysis of the…

  • Out of Stock

    SMITHSON, ROBERT. – Holt, Nancy (ed.): . . Edited by Nancy Holt. Introduction by Philip Leider. Designed by Sol LeWitt. [Cover title:] Essays with illustrations. New York: New York University Press, 1979. 4to in wraps 28×22 cm. vii, (1, 2 blanks), 221, (1 blank) pp. Light wear to cover corners…

  • Out of Stock

    Robert Smithson (1938-1973) – “an artist of paramount importance in postwar America, created radical new perspectives for landscape architecture, photography, art criticism, and site-specific installation. His Spiral Jetty – a 1,500-foot-long coil of rock built in 1970 at the edge of the Great Salt Lake – is widely appreciated as one of the most significant art projects of the twentieth century. Less well known is the connection between the Jetty and the nearby Golden Spike National Historic Site, location of the completion of the first U.S. transcontinental railroad. The link between these two monuments is but one facet of an entire complex of historical reference and reflection that structures Smithson’s work. Mirror-Travels encompasses the full span of Smithson’s career, offering a close analysis of the artist’s working model of history and featuring comprehensive case studies of three of his most influential works: “The Monuments of Passaic”, “Incidents of Mirror-Travel in the Yucatan”, and the Spiral Jetty. Incorporating abundant new material from Smithson’s personal papers and library, Jennifer Roberts offers surprising new interpretations about the artist and his responses to the social, ideological, and material contradictions of his time.”