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  • Staatliche Museen  (2)
  • Ibero-Amerik. Institut
  • Feministisches Archiv
  • Inst. Menschenrechte
  • SB Bad Wilsnack
  • 2010-2014  (2)
  • Installation  (2)
Type of Medium
Language
Region
Library
  • Staatliche Museen  (2)
  • Ibero-Amerik. Institut
  • Feministisches Archiv
  • Inst. Menschenrechte
  • SB Bad Wilsnack
Years
  • 2010-2014  (2)
Year
Subjects(RVK)
  • 1
    UID:
    gbv_1606319868
    Format: 175 Seiten , 25 cm
    ISBN: 9780956896254
    Uniform Title: End of fun
    Note: Fotodokumentation des Werkes: End of fun, 2010, Fibreglass, plastic and mixed media in nine virtrines, Courtesy of The Duerckheim Collection , Mit einem einleitenden Essay "The sixth Reich" von Will Self , Auf der Haupttitelseite: The end of fun : The Duerckheim Collection , Auf der Schmutztitelseite: Jake & Dinos Chapman , Auf der Vorderseite des vorderen Buchdeckels: The end of fun / Jake & Dinos Chapman , Auf der ungezählten Seite 176 oben: The end of fun / Jake & Dinos Chapman , Angabe der Künstler der Schmutztitelseite entnommen. - Angabe des Verfassers einer Einleitung Seite 6 entnommen. - Angabe des Herausgebers der ungezählten Seite 176 entnommen , Enthält überwiegend Abbildungen (farbig) , "Catalogue © 2013 White Cube and FUEL" (ungezählte Seite 176) , Introduced with an exclusive essay by Will Self placing the eponymous sculpture The End of Fun in both the context of the Chapman's oeuvre and historical interpretations of Hell, this book is a detailed examination of the work. Completed in 2012, it is the latest incarnation of the brothers' famous Hell (1999), which was consumed in the Momart fire of 2004. Following on in both layout and format from the book Fucking Hell (2008), The End of Fun consists of close-up photographs detailing the atrocities committed by the subjects of the work: thousands of miniature Nazis and skeletons, who seem to be engaged in an eternal battle across nine separate vitrines, arranged in the shape of a reverse swastika. Each dreadful scene is played out against a series of equally apocalyptic backdrops: a derelict factory; a concentration camp; a shattered church; an erupting volcano. Dark humour permeates: in one vitrine a still-smiling Ronald McDonald is being crucified; in another, seven separate Adolf Hitlers make distinctly "degenerate" paintings of a nude, oblivious to the carnage raging around them
    Language: English
    Subjects: Art History
    RVK:
    Keywords: Chapman, Jake 1966- ; Chapman, Dinos 1962- ; Sammlung Christian Graf Dürckheim ; Kleinplastik ; Installation ; Kriegsverbrechen ; Grausamkeit ; Drittes Reich ; Weltkrieg ; Chapman, Jake 1966- End of fun ; Chapman, Jake 1966- ; Kleinplastik ; Installation ; Kriegsverbrechen ; Drittes Reich ; Weltkrieg ; Geschichte 2012 ; Chapman, Dinos 1962- ; Kleinplastik ; Installation ; Kriegsverbrechen ; Drittes Reich ; Weltkrieg ; Geschichte 2012 ; Bildband
    Author information: Self, Will 1961-
    Author information: Chapman, Jake 1966-
    Author information: Chapman, Dinos 1962-
    Author information: Luard, Honey 19XX-
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    UID:
    gbv_747150540
    Format: 90 S , überw. Ill , 32 cm
    ISBN: 9781935263746
    Content: Includes bibliographical references
    Content: Photographs of Rauschenberg's trip to Ahmedabad, India, 1975
    Content: In the early 1970s, Rauschenberg moved his permanent studio from New York City to Captiva Island, off the Gulf coast of Florida (Today, this site is in use as the artists? residency program of the Robert Rauschenberg Foundation). This relocation marked a shift from the gritty urban detritus that had been the basis of much of the earlier work to a rhapsodic embrace of color and geometric abstraction in a wholly new vernacular language. The Jammers series (1975?76), its title a direct reference to the Windjammer sailing vessel, is Rauschenberg?s salute to his new island life. In 1975, he also went to India to investigate textiles and papermaking, and the inspiration of this new and exotic context is evident in the use of vivid colors and nuanced textures of cotton, muslin, and silk. For the most part, the Jammers comprise stitched fabrics in pure, solid colors, affixed to rattan poles or hung directly and loosely on the wall; whereas in works such as Sprout (1975) and Caliper (1976), the unadorned poles are the principal formal element, propped against the wall. Departing from Rauschenberg?s densely collaged imagery or muscular, layered materials, the Jammers are simple and light, focusing on the transparency and seductiveness of veil-like fabrics, that are lent sculptural structure by the cloth-covered poles or other found objects. In Quarterhorse (1975), segments of blue, green, tan and yellow cloth evoke sandy beaches, palm trees, and bright sunshine. In Index (1976), widths of gleaming azure and white satin drape together, a diptych of clouds and sea. The hot, saturated hues of Pimiento III (1976) and Mirage (1976) attest to more exotic influences; while Coin (1976) incorporates found tin cans, stripped of their labels, gleaming mysteriously inside a gauze bag that sags under their weight.--Gagosian website
    Note: Ausstellungskatalog. - Includes bibliographical references. - Photographs of Rauschenberg's trip to Ahmedabad, India, 1975 , Photographs of Rauschenberg's trip to Ahmedabad, India, 1975.
    Language: English
    Subjects: Art History
    RVK:
    Keywords: Rauschenberg, Robert 1925-2008 ; Installation ; Geschichte 1976-1977 ; Rauschenberg, Robert 1925-2008 ; Geschichte 1975-1977 ; Ausstellungskatalog
    Author information: Francis, Mark 1952-
    Library Location Call Number Volume/Issue/Year Availability
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