skulptur

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    Originaludgaven, med håndmalede farveprøver

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    Forlaget Virkelig, 2021. 125 pp. Hft. Pænt eksemplar Her foreligger Rainer Maria Rilkes legendariske portræt af billedkunstneren Auguste Rodins kunst og tænkning for første gang i sin helhed på dansk. Udover portrættets to dele fra hhv. 1903 og 1907 har oversætter Karsten Sand Iversen tilføjet en række af forfatterens personlige…

  • 175,00 kr.

    Billedhuggerskolen Charlottenborg, Det Kongelige Danske Kunstakademi, 1981. 76 sider. Hft. Illustreret. Omslag med lidt brugsspor. Navn

  • 245,00 kr.

    Heiberg, Kasper. – Bonnen, Peter. – Guttormsen, Niels. – Høyer, Steen et al: . Mobilia. No. 147 / 148, October/November 1967. “Une extension du milieu urbain”. Denmark: Snekkersten, 1967. Square 4to in original wrappers. (140) pp. Some rubbing to cover and edges but clean inside and solid. Also in this…

  • 199,00 kr.

    “Kasper Heiberg. Maler, billedhugger og pioner på stedets betingelser 1928-1984”. Forlaget Vandkunsten, 2013. Stort format. Hardcover, med omslag. 320 sider, illustreret. Nyt eksemplar!

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    – an alternative history of sculpture, featuring an international array of innovative artists, including such pioneers as Marcel Duchamp, whose works serve as a conceptual touchstone for the show. Artists in the show included Lynda Benglis, Lee Bontecou, Louise Bourgeois, Marcel Broodthaers, Alberto Burri, Marcel Duchamp, Lucio Fontana, Robert Gober, Felix Gonzalez-Torres, Eva Hesse, Jasper Johns, Yayoi Kusama, Piero Manzoni, Allan McCollum, Josiah McElheny, Bruce Nauman, Gabriel Orozco, Robert Rauschenberg, Cy Twombly, and Rachel Whiteread

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    New York, The Pace Gallery & Leo castelli, 1987. 26,5 x 26,5 cm. Orig. wrappers. Photographs of work in b/w. 50 pages. Light shelfwear to cover else fine and clean

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    Buchloh, Benjamin H.D. – Bois, Yve-Alain. – Krauss, Rosalind. – Crimp, Douglas et al. – Foster, Hal & Gordon Hughes (ed.):. RICHARD SERRA – October files. MIT Press / October, 2000. 8vo in wraps as issued. 204 pp. With plates bw Fine clean copy

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    Af Rolf Læssøe. Udkommet på Politikens Forlag, 1992. Lille 4to i hardcover, intet smudsomslag. 42 sider. Illustreret, delvist i farver

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    I bogen Kartotek -en kunstsamling skildres ødelæggelse og undergang: en tre meter lang Henry Moore skulptur forsvinder sporløst, en dreng vil kramme en glasskulptur i Kentucky, en milliardær er utilfreds med et bestilt værk, en religiøs stat smadrer skulpturer af mennesker, en vred borgmester beordrer en hel udstilling fjernet, en statue smides i havnen, et Ai Weiwei-værk bliver smadret af en vred lokal kunstner i Florida, en selfie-turist vælter Portugals svar på Holger Danske, en rengøringshjælp rydder op, og en pedel smider affald ud.
    Bogen er udformet som et kartotek over en række kunstværker, der alle har det tilfælles, at de ikke længere eksisterer; nogle er blevet stjålet, nogle er ødelagte, enten med vilje eller ved et klumset uheld, andre er bare blevet væk.
    Nu findes værkerne udelukkende i kraft af katalogpostens nøgterne beskrivelse og gennem betragterens evne til at se det ikke-eksisterende værk for sig

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    Marcia Tucker: Robert Morris. New York: Whitney Museum of American Art, 1970. Small 4to in publishers grey hardcover with fine and protected dustjacket. 63 pages, illustrated. Text in English. Fine attractive copy, clean First edition Texts by exhibition curator Marcia Tucker. “The presentation of this exhibition, which consists of approximately…

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    “As Gavin Delahunty writes, “Carl Andre has also made an art of words.” – a retrospective monograph which presents the artist’s poems. Carl Andre lays words on paper just as he lays pieces of metals or bricks on the floor. Formed by letters piled up in blocks of words assembled together, on top of each other, these poems, which he has written since the 1960s, arise as “sculptural configurations.” In the tradition of concrete poetry, words become adjustable entities moved around and placed within the limits of the space of the sheet of paper in order to create new configurations and patterns, and eventually new works of art. “Andre [ … ] understands the word as a concrete module, similar to the squares of industrial metal, wooden timbers, or bricks in his signature three-dimensional pieces,” writes Rob Weiner. The book includes essays by art historians Gavin Delahunty and Valérie Mavridorakis, as well as curator Lynn Kost, and situates Carl Andre’s written works within their initial context in the 1960s at a time when Minimalism was being defined”