Published by Walther König, Köln. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Hélène Cixous, et al.
This publication is the first to focus solely on the photographic work of Welsh sculptor and filmmaker Cerith Wyn Evans (born 1958), revealing a selection of previously unpublished images. Accompanying this is two texts in a separate booklet: a poetic response to the photographs by philosopher Hélène Cixous, and an abécédaire cowritten by Wyn Evans and philosopher Alexander García Düttmann.
Published by Koenig Books. Foreword and interview by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Fabrizio Gallanti, Smiljan Radic.
The 2014 Serpentine Pavilion is designed by Chilean architect Smiljan Radic (born 1965) as a multipurpose social space with a café. A semi-translucent, cylindrical structure that resembles a shell and rests on large quarry stones, its torus-shaped fiberglass shell resembles the cast-off chrysalis of some bulbous insect.
Published by Walther König, Köln. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Sophie O’Brien, Federico Leon, Eyal Weizman.
The first thing seen upon entering the new Serpentine Sackler Gallery is a life-size clay elephant, pitching itself toward a brick wall. This work is part of an installation by Argentine artist Adrián Villar Rojas (born 1980), documented in this catalogue.
Published by Forlaget Press. Edited by Line Ulekleiv. Foreword by Jan Andresen, Julia Peyton-Jones, Hans Ulrich Obrist. Text by Pernille Albrethsen, John Kelsey, Patrick Frey.
In 2013, the Serpentine Gallery in London presents Fischli & Weiss’ first public sculpture in the United Kingdom, “Rock on Top of another Rock,” installed in Hyde Park, near the Gallery. This work was undertaken in tandem with the duo’s monumental rock project in Valdresflya, Norway, which was unveiled in the fall of 2012. The latter project was part of a nationwide effort by the National Tourist Routes in Norway, for which internationally renowned artists and architects have been invited to create works that dialogue with the Norwegian landscape, for each of the 18 roads spanning the country. Published to accompany this dual venture, this catalogue features essays by Patrick Frey, John Kelsey and Pernille Albrethsen as well as historical texts selected by the artists.
Published by Walther König, Köln. Edited by Kathryn Rattee. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Daniel Birnbaum.
This flipbook reprises one of Sturtevant’s more recent works, Finite Infinite (2010)--a large-scale projection that features a dog running in an endless loop across an expanse of grass. Themes of repetition in Sturtevant’s art are explicated in an essay by Daniel Birnbaum.
Published by Walther König, Köln. Edited by Sophie O’Brien, Melissa Larner, Rebecca Lewin. Text by Niklas Maak. Interview with Julia Peyton-Jones, Hans Ulrich Obrist.
The Serpentine Gallery Pavilion 2013 is designed by award-winning Japanese architect Sou Fujimoto (born 1971)--the thirteenth and, at 41, youngest architect to accept the invitation to design a temporary structure for the Serpentine Gallery. The Serpentine’s past pavilions have included designs by Herzog & de Meuron and Ai Weiwei (2012), Frank Gehry (2008), the late Oscar Niemeyer (2003) and Zaha Hadid (2000). Inspired by organic structures such as forests, nests and caves, Fujimoto’s buildings inhabit a space between nature and artificiality. Fujimoto’s pavilion is a delicate, latticed structure of steel poles--lightweight and semi-transparent in appearance--that allows it to blend, cloudlike, into the landscape and against the classical backdrop of the Gallery’s colonnaded East wing. It is designed as a flexible, multipurpose social space. This volume documents the project.
Published by Walther König, Köln. Edited by Sophie O’Brian. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by John Berger.
Over the last two decades, alongside his better known sculptural work, German artist Thomas Schütte (born 1954) has created watercolors and drawings of his acquaintances and friends, as well as numerous self-portraits (such as the Mirror Drawings). These drawings are often created in series, as Schütte approaches the same subject over and over, obsessively covering all angles and methodically exhausting the possibilities. Schütte’s drawings directly inform his sculptural portraits, which are created in a similar spirit. With 130 color reproductions, Faces and Figures offers a selective, themed Schütte retrospective, surveying these portraits and other works on paper, as well as ceramic and bronze sculptures--including the impressive “Vater Staat” (Father State), a towering steel figure that despite its scale appears frail and isolate.
Published by Blue Kingfisher Limited. Edited by Li Zhenhua, Zhang Moyi. Text by Li Zhenhua, Heidi Zuckerman Jacobson, Hu Fang, Philip Tinari, Nataline Colonnello, Hou Hanru, Tang Xin, Daniela Trincia, Andrew Maerkle, Pi Li, Jonathan Napack, Ai Weiwei. Interview by Li Zhenhua, Hans Ulrich Obrist, Julia Peyton-Jones, Yan Lei, Carol Yinghua Lu, Jérôme Sans, Waling Boers.
What I Like to Do is the first full monograph on Chinese artist Yan Lei (born 1965), whose paintings, based on digitally reduced photographs, explore the structure and function of the global art market as it relates to his own career.
PUBLISHER Blue Kingfisher Limited
BOOK FORMAT Hardcover, 7.75 x 10.5 in. / 290 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 10/31/2013 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 191
PRODUCT DETAILS ISBN 9789881506306TRADE List Price: $55.00 CDN $65.00
Published by Walther König, Köln. Foreword and interview by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Jacques Herzog, Pierre de Meuron, Ai Weiwei, Joseph Rykwert.
In 2008, Swiss architects Herzog & de Meuron and Chinese artist Ai Weiwei joined forces to design the celebrated Beijing National Stadium for the Olympic Games. In 2012, the team came together again for the Serpentine Gallery’s acclaimed annual commission, as part of the London 2012 Festival, the culmination of the Cultural Olympiad. Their pavilion takes visitors beneath the Serpentine’s lawn to explore the hidden history of its previous pavilions. Supporting the structure from below, eleven columns symbolize past pavilions, and a twelfth represents the current one. The pavilion’s interior is clad in cork, to evoke the excavated earth, and is built as a network of pathways and trenches. Herzog & de Meuron and Weiwei’s archaeological approach creates a space that invites visitors to look beneath the surface of the park as well as back in time to the inspiration of earlier structures.
Published by Walther König, Köln. Foreword by Yoko Ono. Text by Alexandra Munroe. Chrissie Iles. Interview by Julia Peyton-Jones, Hans Ulrich Obrist.
As a pioneering conceptual artist, performance artist, film-maker, poet, musician, writer and peace activist for over five decades, Yoko Ono (born 1933) has influenced several generations of artists, musicians and cultural workers across the globe. Throughout her career, Ono has explored an incredible range of media, coining new kinds of artistic genres--most notably with her instruction pieces, which she began making in the 1950s and continues to devise today. Yoko Ono: To the Light accompanies the artist’s major 2012 overview at the Serpentine Gallery in London (a city to which she has longstanding ties). In her introduction, Ono explains the book and show’s title: “We are now at the 13th hour, facing the future together in which we may destroy ourselves or go on to create our heaven on earth. For the Serpentine Gallery, I selected pieces which had the strongest vibration to take us to the light.” In accord with this utopian emphasis, Ono is also presenting #smilesfilm, a worldwide participatory project, as part of her exhibition. Conceived as a way of connecting people across the world, users are invited to upload images of their smiles via Twitter and Instagram, creating a global string of smiles. Included in this volume are reproductions of installations, films and performances, plus archival material relating to several key early works. Yoko Ono: To the Light is a concise introduction to the vast scope of this era-defining artist’s many endeavors.
Published by Walther König, Köln. Edited by Helena Tatay. Foreword by Hans Ulrich Obrist, Julia Peyton-Jones, Dirck Luckow. Text by Brigitte Huck, Helena Tatay. Conversation with Hans Ulrich Obrist, Helena Tatay.
Hans-Peter Feldmann (born 1941) is a virtuoso taxonomist of contemporary visual culture. Published for Feldmann’s major 2012 exhibition at the Serpentine Galllery in London (which travels to Vienna and Hamburg), Catalogue compiles well-known images alongside new and unseen works, including selections from the artist’s private photo albums and reproductions of early book works from the late 1960s on. Grids of seagulls and postcards share space with lighthearted photobooth snaps of people crossing their eyes and a variety of other visual gags. At once intimate and accessible, Catalogue includes a lengthy, playful interview with Hans Ulrich Obrist and Helena Tatay, in which Feldmann looks back over his career, discussing inspirational figures such as Marcel Broodthaers, Bruno Goller and Konrad Klapheck and his favorite books.
Published by Walther König, Köln/Koenig Books. Edited by Nicola Lees, Lucia Pietroiusti. Introduction by Hans Ulrich Obrist. Foreword by Julia Peyton-Jones.
Hans Ulrich Obrist’s 2009 Poetry Marathon was an ambitious two-day poetry event held in Kazuyo Sejima and Ryue Nishizawa’s summer pavilion at the Serpentine Gallery, with performances from leading poets, writers, artists, philosophers, scholars and musicians. Intended as a continuation of the overlap between twentieth-century poetry and art in Dada, Cubism, Surrealism, the New York Schools and Fluxus, this ambitious occasion is now commemorated in this 728-page volume. Poetry Marathon includes contributions from Sean Bonney, Tracey Emin, Brian Eno, James Fenton, Gilbert & George, John Giorno, Dominique Gonzalez-Foerster, Kenneth Goldsmith, Eugen Gomringer, Richard Hell, Geoffrey Hill, Joan Jonas, August Kleinzahler, Nick Laird, Sean Landers, Jonas Mekas, Maria Mirabel, Eileen Myles, Philippe Parreno, Holly Pester, Jeremy Reed, Gerhard Rühm, Barry Schwabsky and Agnès Varda, among many others.
Published by Walther König/Koenig Books. Edited by Kathryn Rattee. Text by Paul Virilio, Samantha Hardingham. Interview by Julia Peyton-Jones, Hans Ulrich Obrist.
Renowned French architect Jean Nouvel designed the Serpentine Gallery's pavilion for 2010, and created a commanding, eye-catching all-red structure designed to mimic the moment "when the summer sun catches you full in the eyes and, as you blink, the world dissolves into red." Also inspired by London's red buses and telephone boxes, this dramatic and seductive pavilion consists of a cantilevered glass wall supporting a central frame, with retractable red canvas awnings, a red rubber floor and, to accommodate its many visitors, a red café bar, red table tennis tables and red hammocks, tables and chairs. "It's architecture on holiday," Nouvel has joked, also describing the pavilion as a "big sunglass." This similarly striking publication, designed by Nouvel, records the project in documentation, eight foldout posters and an interview with Nouvel by Julia Peyton-Jones and Hans Ulrich Obrist.
Published by Walther König, Köln/Koenig Books. Edited by Karen Marta, Kathryn Rattee, Zoe Stillpass. Foreword by Hans Ulrich Obrist, Julia Peyton-Jones. Texts by Nicolas Bourriaud, Michael Fried, Dorothea von Hantelmann.
Philippe Parreno rose to prominence in the 1990s among a group of artists later gathered under the rubric of Relational Aesthetics. Parreno has sought to redefine the exhibition experience as a coherent object rather than a collection of individual works. In this spirit, his recent exhibition at the Serpentine Gallery constitutes an environment through which the visitor is guided by an orchestration of sound and image. This catalogue for the exhibition examines Parreno’s films, including Invisibleboy (2010), the tale of a Chinese immigrant boy who sees imaginary monsters that are scratched onto the film stock; June 8, 1968 (2009) which revisits the train voyage that transported the corpse of Robert Kennedy from New York to Washington D.C.; and The Boy from Mars (2003), which partly focuses on the generator that supplies the power required to make the film.
Published by Walther König, Köln. Foreword by Julia Peyton Jones, Hans Ulrich Obrist.
The Trip documents artist Marcus Coates’ work with outpatients at St John’s Hospice in London—persons in the final stages of their lives, to whom Coates put the question: “what can I do for you?” One unexpected reply was a request to travel to the Amazon rainforest and ask its inhabitants a set of questions. This volume records Coates’ extraordinary journey.
Published by Walther König, Köln/Koenig Books. Edited by Julia Peyton-Jones, Hans Ulrich Obrist, Gunnar B. Kvaran, Thierry Raspail.
Following the rapid economic and cultural developments on the Indian subcontinent in recent years, Indian Highwayis a timely snapshot of a new generation of artists. Its title indicates the significance of the road in migration, as well as the “information superhighway” that has driven India's economic boom. A common thread throughout is the political and social engagement of these artists, who include: Ayisha Abraham, Ravi Agarwal, Sarnath Banerjee, Hemali Bhuta, Nikhil Chopra, Desire Machine Collective, Sheela Gowda, Sakshi Gupta, Shilpa Gupta, Subodh Gupta, NS Harsha, Abhishek, Hazra Shanay, Jhaveri, Jitish Kallat, Amar Kanwar, Bharti Kher, Bose Krishnamachari, Nalini Malani, Jagannath Panda, Prajakta Potnis, Raqs Media Collective, Tejal Shah, Valay Shende, Sudarshan Shetty, Dayanita Singh, Sumakshi Singh, Ashok Sukumaran, Shaina Anand, Thukral & Tagra and Hema Upadhyay.
Published by Walther König/Koenig Books. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist.
Over the fall of 2010, visitors to the serene and stately grounds of Kensington Gardens in London encountered four monumental stainless-steel sculptures by Anish Kapoor, carefully situated to reflect and distort in their mirrored surfaces the weather, the wildlife and the changing colors of the surrounding foliage. Visible from afar, Kapoor's sculptures interact with the locale with a tremendous sensitivity, while opening up whole new vistas and indeed "turning the world upside down." A tinted "Sky Mirror" disc planted in the Serpentine lake transforms the grey London sky into a dramatic and luminous red; a fluted, conical, mirrored structure seems to suck up the earth and siphon it into the sky. Illustrated with full-color plates of these works in situ, Turning the World Upside Down in Kensington Gardens is also the first Kapoor monograph to offer a comprehensive overview of all of the artist's stainless steel sculptures.
Published by Walther König, Köln. Text by Hans Ulrich Obrist, Julia Peyton-Jones, Benjamin H.D. Buchloh.
With his memorably titled 1956 collage "Just What is it that Makes Today's Homes So Different, So Appealing?", British artist Richard Hamilton (born 1922) heralded the British Pop revolution; and with his 1967 Swingeing London series of prints, which depicted the arrest of Mick Jagger and Robert Fraser, Hamilton's art entered the general public consciousness. But unlike so many Pop artists, Hamilton was never an uncritical or ambivalent advocate of postwar society, and he has often agitated directly against it, producing a great deal of openly political, satirical work that assaults both consumer culture at large and more immediate political events. This monograph, published for Hamilton's 2010 exhibition at the Serpentine Gallery in London (his first exhibition since 1992), brings together Hamilton's famous "protest" paintings as well as newer political works and features essays by Benjamin H.D. Buchloh and Michael Bracewell.
Published by Walther König, Köln. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist.
Manifesto Marathon is the third in Hans Ulrich Obrist's series of Marathon events at London's Serpentine Gallery. Coming at a moment when manifestos, having ceased to spearhead artistic movements, seem ripe for reinvention, Manifesto Marathon collects statements and declarations of all kinds from artists and contributors from the worlds of literature, design, science, philosophy, music and film. Highlights include Nicolas Bourriaud's “Altermodern,” Paul Chan's “Sex and the New Way, V.I.,” Jimmie Durham's “No More Silly Hats,” Fritz Haeg's “London: A Manifesto From Your Animals,” David Hockney's “Manifesto for Smoking,” Adam Pendleton's “Black Dada,” Agnès Varda's “What To Do?,” Ben Vautier's “I Don't Know What To Do,” Ai Wewei's “Despicable Things,” Vivienne Westwood's “AR,” Lebbeus Woods' “Slow Manifesto,” plus interviews with Eric Hobsbawm and Tino Sehgal, and a wealth of photographs from the event.
Published by Walther König, Köln. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist. Text by Norman Rosenthal, Sophie O'Brien, Clive Phillpot.
Pioneer of Auto-Destructive art, affiliate of Fluxus and the subject of several books but never a full retrospective, Gustav Metzger (born 1926) at last receives a substantial retrospective on more than half a century of activity. Born in Nüremberg, Germany, to Polish-Jewish parents, Metzger was evacuated to England with his brother as part of the Kindertransport in 1939 (his parents disappeared in 1943); 20 years later, after a period of study with the painter David Bomberg, he would abandon painting to seek ways of working that would recognize the destructiveness of the twentieth century: “artists have a special part to play in opposing extinction, if only on a theoretical, intellectual basis,” he wrote. Metzger's manifesto for “Auto-Destructve” art led to the famous Destruction in Art Symposium held at the London ICA in 1966, in which Yoko Ono, Wolf Vostell, Al Hansen and John Latham also participated. His subsequent work has included political activism, installation, performance and writing; among the many iconic images that Metzger has bequeathed to art history is one of him assaulting a large canvas with acid, wearing a gas mask and suit—an instance of creative destructiveness which later inspired Pete Townshend of The Who to trash his guitar onstage. With essays and an interview, Decades records Metzger's passionate war with art for the sake of a more peaceable world.
Raised as a child in Nazi Germany, Gustav Metzger (born 10 April 1926) is an activist political artist who founded the auto-destructive art movement and called for an Art Strike in the late 1970s to protest art's engagement with capitalism.
Published by Walther König, Köln. Text by Mark Wigley, Kazuyo Sejima, Ryue Nishizawa, Julia Peyton-Jones, Hans Ulrich Obrist, Beatrice Galilee. Foreword by Julia Peyton-Jones, Hans Ulrich Obrist.
An ongoing program of temporary structures designed by internationally acclaimed architects, The Serpentine Gallery Pavilion commission was conceived by the institution's director, Julia Peyton-Jones, in 2000, and is unique worldwide. The Pavilion for 2009 was designed by Kazuyo Sejima and Ryue Nishizawa, of the leading Japanese architecture practice SANAA. Sejima and Nishizawa created a stunning structure that resembles a reflective cloud or a pool of water, sitting atop a series of delicate columns. The metal roof varies in height, wrapping itself around the trees in the park and sweeping down almost to the ground in some places. Open and ephemeral in structure, its reflective materials allow it to sit seamlessly within the natural environment, reflecting both the park and sky. “It works as a field of activity with no walls,” say Sejima and Nishizawa. This publication documents the conception, construction and life of this impressive temporary structure.
Published by Walther König, Köln. Foreword by Julia Peyton Jones, Hans Ulrich Obrist. Text by Frederic Tuten, Arthur C. Danto, Dorothea von Hantelmann. Conversation with Julia Peyton-Jones, Hans Ulrich Obrist.
Jeff Koons' Popeye series, begun in 2002, incorporates some of the artist's signature themes and motifs: the surrealistic combination of everyday objects, cartoon imagery, outsized scale, art-historical references and children's toys. The sculptures reproduced here continue Koons' fondness for casting inflatable toys in aluminum—carefully painted to resemble supple plastic—which he juxtaposes here with unaltered everyday objects, such as chairs or garbage cans. The Popeye paintings are complex and layered compositions that combine disparate images both found and created by Koons (including images of the sculptures in the series). The instantly recognizable figures of Popeye and Olive Oyl are central, and recur across several key works within the book. Frederic Tuten, Arthur C. Danto and Dorothea von Hantelmann provide commentary on this fun body of work, which Koons discusses in a conversation with Julia Peyton-Jones and Hans Ulrich Obrist.
Published by JRP|Ringier. Edited by Hans Ulrich Obrist, Julia Peyton-Jones, Beatrix Ruf. Text by Will Bradley. Interview by Stuart Comer.
A prominent figure in Glasgow's vibrant art scene, Luke Fowler's cinematic collages break down conventional approaches to biographical and documentary filmmaking. Fowler's films have often been linked to the British Free Cinema of the 1950s, and Fowler likewise avoids didactic voice-over and narrative continuity in favor of impressionistic sound and editing. However, Fowler moves beyond simply referencing the work of his predecessors. Mercurially applying the logic, aesthetics and politics of his subjects—who include the composers/musicians Cornelius Cardew and L. Voag, and the psychologist R.D. Laing—to the film he is making about them, he creates atmospheric, sampled histories that reverberate with the vitality of the people he studies. This is the first major publication on Luke Fowler. It provides a comprehensive overview of his artistic production, with color illustrations, an in-depth discussion between Stuart Comer and the artist, and an essay by Will Bradley.
Published by Walther König, Köln. Edited by Hans Ulrich Obrist. Text by Julia Peyton-Jones, Martin Herbert, Barry Schwabsky.
With her classically formal clay and bronze sculptures, London-based Rebecca Warren positions herself within the predominantly male figurative tradition, which includes Degas and Rodin, while maintaining the contemporary stance of questioning her predecessors' authority. Here she presents new works alongside well-known pieces from throughout her career.
Published by Walther König, Köln. Edited by Kasper König, Hans Ulrich Obrist. Text by Barbara Engelbach, Julia Peyton-Jones.
The definitive book on filmmaker, writer, founder of Anthology Film Archive and all-round cinema avatar Jonas Mekas, this compendium of materials is essential for all fans of independent American cinema. Since the early 1950s, when he acquired his first Bolex camera (shortly after moving to New York from Lithuania), Mekas has practiced a kind of diaristic filmmaking, which developed into a distinct style in the 1960s, where his documentations of John Lennon, Allen Ginsberg and other member of the New York counterculture were blended with footage of the city's street life and everyday incidents. Since the 1990s, he has also produced so-called "frozen film stills" and installation video pieces. This book presents his newest work (such as the huge video piece "365 Day Project," for which he filmed a video every day for a year) alongside his texts--journals, poems, letters, essays and interviews--and a huge array of historical photographs, posters and other ephemera.
Published by Hatje Cantz. Preface by Hans Ulrich Obrist. Text by Peter Gidal, Julia Peyton-Jones.
Composed of bright monochrome squares randomly arranged in a grid to create stunning sheets of kaleidoscopic color, Gerhard Richter's 4900 Colors (2007)--the latest result of the artist's long-term exploration of seriality--was created just following the completion of his design for the south transept window of Cologne Cathedral, unveiled in August 2007, which is made of 11,500 hand-blown squares of glass in 72 colors. 4900 Colors consists of 196 panels of 25 different colored squares that can be reconfigured in 11 variations, from one large-scale piece to multiple, smaller paintings. Version II--49 identically sized paintings, each 38 x 38 inches--was produced for Richter's 2008 Serpentine Gallery exhibition, also catalogued here, alongside texts by critics Benjamin Buchloh, Peter Gidal and Birgit Pelzer as well as Serpentine Director, Julia Peyton Jones and Serpentine Co-Director of Exhibitions Hans Ulrich Obrist.
Published by Walther König, Köln. Text by Julia Peyton-Jones. Interview by Hans Ulrich Obrist.
Born in 1919, Viennese artist Maria Lassnig--who coined the phrase "body-awareness painting"--uses bold forms and strong colors to create portraits and semi-figurative abstractions. This volume, with texts by Robert Storr, Jennifer Higgie and Paul McCarthy, includes a selection of sensational, fresh and vibrant works from the last three years.
Published by Walther König, Köln. Edited by Hans Ulrich Obrist. Text by Nils Norman, Julia Peyton-Jones.
This publication documents British artist Nils Norman's collaboration with London's Serpentine Gallery and a UK organization, through which he worked with homeless people to map their experiences, uncovering how the economic and physical structures of the city impact the people who inhabit its public spaces.
Published by Walther König, Köln. Text by Julia Peyton-Jones, Tilda Swinton, Chrissie Iles, Hans Ulrich Obrist.
Brutal Beauty presents Isaac Julien's refreshing vision of Derek Jarman as a true Renaissance man--a painter, director, activist, diarist and gardener--whose infectiously prolific range of enterprises belies a consistent preoccupation with liberated sexual politics and the defiance of inherited mores.
Published by Walther König, Köln. By Michael Turner. Artwork by Stan Douglas. Contributions by Achim Borchardt-Hume. Text by Julia Peyton-Jones.
Intricate and emotive, Stan Douglas' film installations are concerned with complex psychological states such as collective memories, forgotten histories, and social alienation. His recent project Journey into Fear derives from two sources--the 1942 and 1975 films of the same name, and Melville's late novel The Confidence Man--and presents an endless array of possibilites, juxtaposing repetition and novelty, destroying conventional senses of time, and trapping the viewer in the haunting world of the film.
PUBLISHER Walther König, Köln
BOOK FORMAT Hardcover, 9.75 x 6.75 in. / 168 pgs / 67 color.
PUBLISHING STATUS Pub Date 10/2/2002 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9783883755540SDNR30 List Price: $30.00 CDN $35.00