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

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  • Ein minimalistisches, weißes Buchcover mit schwarzem Text oben links: JULIA STOSCHEK COLLECTION NUMBER ONE: DESTROY, SHE SAID. Unten links befindet sich das Logo des Verlags Hatje Cantz.
    Bestseller
    Julia Stoschek Collection

    Destroy, She Said was the title of the first exhibition in the Julia Stoschek Collection, the opening of which prompted a great deal of media coverage last summer in Düsseldorf. One of the show’s distinctive features was that the exhibition spaces were made to measure for a total of forty artistic positions by the Berlin architects Kühn Malvezzi, thus demonstrating the potential for the presentation of contemporary media-supported art.
    This volume documents the exhibition and its remarkable architectural concept. All of the works—by artists such as Doug Aitken, Paul Chan, Robert Smithson, Monica Bonvicini, Natasha Sadr Hagidhian, Dara Birnbaum, Klara Liden, and Olafur Eliasson—are presented in texts and illustrations and situated in the larger context of this exquisite private collection. The book is completed by Daniel Birnbaum’s essay on current time-based art and crucial aspects of selected works from the Julia Stoschek Collection as well as by Kaye Geipel’s text dealing with the history and architecture of the century-old industrial building.
    (English edition ISBN 978-3-7757-2231-5)

     

    Exhibition schedule: Julia Stoschek Collection, Düsseldorf, June 18, 2007–August 2, 2008

     

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  • Ein dunkles Buchcover mit gesprenkelter Textur. Der Titel Zerbrechliche Schönheit in roter Schrift und Glas im Blick der Kunst in weißer Schrift. Darunter die schemenhaften Umrisse von Trinkgläsern.
    Bestseller
    Zerbrechliche Schönheit

    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.

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  • Eine historische Fotografie eines Gletschers, der von dunklen, schneebedeckten Bergen umgeben ist. Darauf steht der Buchtitel Die Weite des Eises und der Untertitel Arktis und Alpen 1860 bis heute.
    Bestseller
    Die Weite des Eises

    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. (English edition ISBN 978-3-7757-2253-7)

     

    Exhibition schedule: Albertina, Vienna, August 22–November 23, 2008

     

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  • Ein rotes Cover mit einem orangefarbenen Balken am oberen Rand. In hellblauer Schrift steht der Titel No Art = No City!. Darunter folgen zweisprachige Untertitel und eine lange Liste von Künstlernamen.
    Bestseller
    No Art - No City!

    Cell phones and E-mail, home shopping and the Internet - the "old" industrial societies have been turning into globally connected information societies quite on the sly. At the same time, the population is tending to retreat into its own four walls. Yet - or maybe for this reason - public urban spaces are becoming more and more important, having lost none of their significance as interfaces of human communication. This catalog is published in conjunction with the thirtieth anniversary of the Bremen program for public art. It features over thirty artists who have confronted urban and social aspects of the city and developed their own personal visions, utopias and fantasies of a life in and with the city. Artists featured: Kim Adams, Louise Bourgeois, Stephen Craig, Bogomir Ecker, Olafur Eliasson, Ayse Erkmen, Isa Genzken, Dorothee Golz, Wiebke Grösch/Frank Metzger, Hans Haacke, Rudolf Herz, Stephan Huber, Rolf Julius, Emilia und Ilya Kabakov, Andree Korpys/Markus Löffler, Mischa Kuball, Atelier Van Lieshout, M+M, Joachim Manz, Olaf Nicolai, Julian Opie, Panamarenko, Hermann Pitz, Marjetica Potrc, Tobias Rehberger, Thomas Ruff/Florian Baudrexel/Jens Ullrich, Roman Signer, Bert Theis, herman de vries, Wolfgang Winter/Berthold Hörbelt Exhibition Schedule: Städtische Galerie im Buntentor, Bremen September 20 - October 26, 2003

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