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Cloud & Crystal
The turning away from the picture is one of the biggest upheavals in 20th century art history. Conceptual Art took the place of figurative painting.This significant paradigm shift is also underscored by the important role that the legendary D�sseldorf gallerist and collector Konrad Fischer played in the international art scene starting in the 1960s.Konrad Fischer established his gallery, which he developed into one of the most influential galleries in the world, in 1967. He represented artists of Minimal and Conceptual Art such as Carl Andre, Joseph Beuys, Hanne Darboven, Hamish Fulton, Sol LeWitt, Richard Long, or Bruce Nauman.The gallery gained art-historical importance above all through...
The Konrad Fischer Years, 1964-1978
With 'The Konrad Fischer Years / 1964 ? 1978', Herbert Foundation pays homage to the atypical art dealer who left an undeniable mark on the early development of the Collection of Anton and Annick Herbert. In addition to the eponymous exbhibition, the publication offers a subjective reflection on Fischer?s activities and role within the international art world of the 1960s and 1970s. Alongside a reprint of the first interview of Konrad Fischer in 1971 for Studio International, the publication includes a comprehensive essay by Lynda Morris and the rendition of her in-depth conversation with Benjamin H.D. Buchloh and Kasper König.00Art dealer Konrad Fischer (Düsseldorf, 1939 ? 1996) opened hi...
Bruce Nauman
"From the beginning I was trying to see if I could make art that did that. Art that was just there all at once. Like getting hit in the face with a baseball bat. Or better yet, like getting hit in the back of the neck. You never see it coming; it just knocks you down. I like that idea very much: the kind of intensity that doesn't give you any trace of whether you're going to like it or not."—Bruce Nauman "Bruce Nauman's art is about heightened awareness, awareness of spaces we usually don't notice (the one under the chair, out of which he made a sculpture) and sounds we don't listen for (the one in the coffin), awareness of emotions we suppress or dread... It's hard to feel indifferent to ...
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Mirage
Richard Long is one of the most compelling and original of contemporary artists. In creating works of art that are inspired by and founded on the process of walking, he has pioneered new ways of understanding the relationship between the individual artist and his surrounding environment. In the range of his walks and in the scope of his international exhibitions, Long has become established as an artist of the world, transcending the milieu of the 1960s avant-garde in which he first rose to prominence. Though his individual works in themselves are often simple, they form, cumulatively, a body of work that is boundlessly rich and complex, with a universal character. As Long himself says, '… the different forms of my work represent freedom and richness - it's not possible to say "everything" in one way.' The integrity, purity and formal beauty of Long's work are admired worldwide. In this book he presents chosen works from some 30 years of his response to landscapes both near and far, and a selection of some of his recent exhibitions.
J.C. Fischer and his Diary of Industrial England
This book was first published in 1966. It was surprising that so small and so remote a country as Switzerland should have played such an important part in the industrial revolution on the Continent in the nineteenth century. A lack of natural resources and basic raw materials and population of 1,687,000 in 1817, faraway trade ports, and until 1848 no real central government with the administrative structure to support expansion of manufacturers. However, the people were hardworking, thrifty and high standards of workmanship; and had good relations with France and Germany, which saw the watchmakers, silkweavers and chocolate crafters start to thrive. Johann Conrad Fischer was typical of the entrepreneurs who laid the foundations of Switzerland's prosperity with his steelworks.
The Fake Prison Doctor of Auschwitz
After over half a century of secrecy, a Swiss bank safe was opened, it contained the long-lost research notes of Josef Mengele, as well as those of his chief assistant in Auschwitz. They had been deposited there by the assistant who himself had been a Jewish doctor. Sent to Auschwitz, he was forced to participate in Josef Mengeles gruesome human experiments. Following the war, he completely disappeared, assuming a new identity and shrouding himself in silence. He did write his story down, but ordered the documents to be sealed away until decades after his death. With the release date drawing closer, his granddaughter, a well-connected Vatican doctor, wanted to have the documents examined b...
The DIY Movement in Art, Music and Publishing
This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.
London's New Scene
A groundbreaking and extensively researched account of the 1960s London art scene In the 1960s, London became a vibrant hub of artistic production. Postwar reconstruction, jet air travel, television arts programs, new color supplements, a generation of young artists, dealers, and curators, the influx of international film companies, the projection of “creative Britain” as a national brand—all nurtured and promoted the emergence of London as “a new capital of art.” Extensively illustrated and researched, this book offers an unprecedented, rich account of the social field that constituted the lively London scene of the 1960s. In clear, fluent prose, Tickner presents an innovative sequence of critical case studies, each of which explores a particular institution or event in the cultural life of London between 1962 and 1968. The result is a kaleidoscopic view of an exuberant decade in the history of British art.
