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You can download an index of light artists included!
Artists featured (selection):
Vito Acconci, Martin Boyce, Björn Dahlem, Olafur Eliasson, Tracey Emin, Dan Flavin, Gerhard von Graevenitz, Zaha Hadid, Jenny Holzer, Mike Kelley, Brigitte Kowanz, Julio Le Parc, Benita Liebel, Mario Merz, László Moholy-Nagy, Bruce Nauman, Jorge Pardo, Tobias Rehberger, Anselm Reyle, Jason Rhoades, Nicolas Schöffler, Keith Sonnier, Yves Tinguely, James Turrell, Cerith Wyn Evans, Chen Zhen
Exhibition schedule: ZKM, Museum für Neue Kunst Karlsruhe, November 19, 2005–August 6, 2006
>> The book is out of print, but still available via shop.zkm.de
This book is only available in German. If you would like more detailed information, please consult our German website. You can also contact Hatje Cantz directly.
Photography’s immense potential for development became perceptible shortly after it was invented, and it could be seen in particular in series on glaciers and arctic landscapes. As early as the eighteen-sixties, photographers began connecting the aspect of (spatial) expanse to that of (temporal) change. Complementary views of polar landscapes taken during Arctic expeditions, showing them close up and from a distance, provided impressions of the depth and breadth of the topography. Glaciologists, on the other hand, needed to have photographs taken year after year in order to objectively assess the growth or contraction of the ice. What was also fascinating were stereoscopic images, with their three-dimensional effects created by putting together two simultaneous, but slightly staggered photographs: they permitted the viewer to get an almost immediate, physical sense of the incomprehensible expanses of ice. Ultimately, contemporary artists produced responses to these images: long, nighttime exposures by Darren Almond, aerial photographs by Olafur Eliasson, or Walter Niedermayr’s panoramas.
Featuring about one hundred outstanding works, this volume presents a broad spectrum of different kinds of glacial photography from 1860 to the present.
Exhibition schedule: Albertina, Vienna, August 22–November 23, 2008
Formulated in 1434 by Leon Battista Alberti, the notion that a painting is like an open window influenced generations of painters. At the start of the twentieth century, the window, reduced to its framework, was employed as a motif and a symbol in order to test the function of painting as a means of reproduction. To the degree that the window is empty, its painted depiction denies us a perspective of the world. With Fresh Widow, the replica of a French window whose panes are covered in black leather, Marcel Duchamp postulated a farewell from illusionist painting in 1920. At the same time, it marked a new beginning. This publication reflects on the development of window painting in art through essays and monographic texts on artists such as Robert Delaunay, Henri Matisse, Marcel Duchamp, René Magritte, Ellsworth Kelly, Eva Hesse, Gerhard Richter, Günther Förg, and others. (German edition ISBN 978-3-7757-3292-5)
Exhibition schedule: K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, March 31–August 12, 2012