Heinz Liesbrock

OUT OF PRINT LISTING

SOL LEWITT: SEVEN BASIC COLORS AND ALL THEIR COMBINATIONS IN A SQUARE WITHIN A SQUARE
Essay by Heinz Liesbrock.
RICHTER VERLAG
ISBN: 9783937572352 | US $47.50
Pub Date: 3/1/2006
Out of print | Not available

AGNES MARTIN: THE ISLANDS
Essay by Heinz Liesbrock.
RICHTER VERLAG
ISBN: 9783937572062 | US $40.00
Pub Date: 6/15/2005
Out of Print | Not available

GARY HILL: SELECTED WORKS & CATALOGUE RAISONNé
DUMONT
ISBN: 9783832171452 | US $75.00
Pub Date: 7/2/2002
Out of Print | Not available

CLAUS GOEDICKE
Essay by Heinz Liesbrock.
HATJE CANTZ PUBLISHERS
ISBN: 9783775710534 | US $29.95
Pub Date: 9/2/2001
Out of print | Not available

HOW YOU LOOK AT IT
Contributions by Thomas Weski. Text by Heinz Liesbrock.
D.A.P./DISTRIBUTED ART PUBLISHERS, INC.
ISBN: 9781891024214 | US $55.00
Pub Date: 7/2/2000
Out of print | Not available

Heinz Liesbrock

Sol LeWitt: Seven Basic Colors and All Their Combinations in a Square Within a Square

Essay by Heinz Liesbrock.
Published by Richter Verlag

Josef Albers and Sol LeWitt are split by fundamentally different understandings of their work, but united by a powerful, overarching and defining goal, the avoidance of emphatic ideas of authorship and the de-emphasis, even, of the star system inside an author's own oeuvre. Both keep their works from getting uppity by making each one part of a serial long-term study, rather than an individual potential masterpiece. LeWitt acknowledges and pays tribute to Albers's significance in his artistic development, and to the two men's connections, in Seven Basic Colors and All Their Combinations in a Square Within a Square, the title wall drawing, installed in the Josef Albers Museum Quadrat in Bottrop and reproduced here in its entirety.

Agnes Martin: The Islands

Essay by Heinz Liesbrock.
Published by Richter Verlag

The Islands--a 1979 group of 12 identically large square paintings--is a body of work especially suitable for gaining insight into the modalities of the visual in Agnes Martin's work. An element that is common to all the canvases is the matte white color that absorbs the surrounding light but only partially radiates it back, as well as the structure of fine horizontal lines drawn in pencil. The reproductions of Martin's work in this book are of the highest quality, especially in light of the fact that her pictures are generally not ideal for reproduction, as, according to the artist, they are light and luminous and deal with fusion and formlessness, i.e., the dissolution of form. In creating this work, Martin, in a certain sense, arrives almost to the point of borderline visibility.

Gary Hill: Selected Works & Catalogue Raisonné

Artwork by Gary Hill. Contributions by Gijs van Tuyl, Gottfried Boehm. Text by Chrissie Iles, Heinz Liesbrock.
Published by Dumont

Claus Goedicke

Essay by Heinz Liesbrock.
Published by Hatje Cantz Publishers

Claus Goedicke, a student of Bernd Becher, takes color photographs that recall the tradition of still-life painting, with subjects featuring everyday objects like platic containers and fruit. These pictures, with their extreme color, perfect lighting, and flawless appearance, also recall the aesthetics of modern advertising.

How You Look At It

Photographs of the 20th Century

Contributions by Thomas Weski. Text by Heinz Liesbrock.
Published by D.A.P./Distributed Art Publishers, Inc.

Eugène Atget's Parisian storefronts paired with Thomas Struth's desolate views of Wall Street; Charles Sheeler's studies of Ford Motor Plant contrasted with Bernd and Hilda Becher's Blast Furnace series; Walker Evans' sharecroppers alongside Rineke Djikstra's troubled late-twentieth-century teens. These are just some of the surprising and delightful editorial matches to be found in How You Look At It: Photographs of the Twentieth Century. Intelligently and carefully edited by Thomas Weski and Heinz Liesbrock, this superb volume makes an argument for photography as the definitive art form of the twentieth century by presenting whole series of works by the medium's pioneers, instead of isolated individual photographs. Arranged thematically rather chronologically, the connections between seemingly disparate bodies of work are made clear. Cindy Sherman's early film stills sit easily across the page from Lee Friedlander's sly shadow self portraits; Robert Adams' desolate suburban sprawls lead a path to Larry Clark's strung-out dopers in Tulsa several pages later. Interspersed throughout the book are reproductions of relevant art piecesso that a Mark Rothko painting flanks a piece of Robert Frank's The Americans and Christian Boltanski's L'album de la famille introduces Nicholas Nixon's The Brown Sisters. Published to accompany the exhibition of the same name, How You Look At It is a comprehensive and unprecedented look at the century of photography.