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| | BOOK FORMAT
Paperback, 8 x 10.75 in. / 128 pgs / 68 color. PUBLISHING STATUS
Pub Date 2/1/2006
Out of print DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2006 p. 122 PRODUCT DETAILS
ISBN 9783775716512 TRADE
List Price: $35.00 CDN $40.00 AVAILABILITY
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NA LA | | THE SPRING 2024 ARTBOOK | D.A.P. CATALOG  | | Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | Eberhard Havekost: HarmoniePaintings 1998-2005Essays by Susanne Köhle and Annelie Lütgens. Preface by Thomas Köhle.
What makes Eberhard Havekost's paintings so disquieting, so ambiguous? Perhaps it's the way he pairs photographic and video-inspired perspectives with large-format brushwork and controlled distortion, forcing lingering gazes accustomed to resting on more familiar painting styles or more focused photography to slip and slide over the surfaces of faces, emotions and buildings. As for subject matter, Havekost often appropriates images from television and newspapers, and, recently, he has also been adapting from his own photographs. Unlike Gerhard Richter, he is not involved in a painter's skeptical attempt to increase the value of the photographic subject, but is instead engaged with the media's skeptical way of dealing with the photograph as a document. Harmonie collects Havekost's paintings from over the last seven years, and is the first book to do so.
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| | | | |  | Walther König, KölnISBN: 9783865607409
USD $29.50 | CAN $39.95Pub Date: 8/31/2010
Active | In stock
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FORMAT: Paperback, 8 x 10.75 in. / 128 pgs / 68 color.
LIST PRICE: U.S. $35.00
LIST PRICE: CANADA $40
ISBN: 9783775716512
PUBLISHER: Hatje Cantz
AVAILABLE: 2/1/2006
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
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| Eberhard Havekost: Harmonie
Paintings 1998-2005 Published by Hatje Cantz.
Essays by Susanne Köhle and Annelie Lütgens. Preface by Thomas Köhle. What makes Eberhard Havekost's paintings so disquieting, so ambiguous? Perhaps it's the way he pairs photographic and video-inspired perspectives with large-format brushwork and controlled distortion, forcing lingering gazes accustomed to resting on more familiar painting styles or more focused photography to slip and slide over the surfaces of faces, emotions and buildings. As for subject matter, Havekost often appropriates images from television and newspapers, and, recently, he has also been adapting from his own photographs. Unlike Gerhard Richter, he is not involved in a painter's skeptical attempt to increase the value of the photographic subject, but is instead engaged with the media's skeptical way of dealing with the photograph as a document. Harmonie collects Havekost's paintings from over the last seven years, and is the first book to do so.
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