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DEAL OF THE DAY

L'ora dello spettatore. Come le immagini ci usano.

Edited by M. Di Monte and Gennari Santori F.
Roma, 2020; paperback, pp. 264, col. ill., cm 21x27.

cover price: € n.d.

L'ora dello spettatore. Come le immagini ci usano.

Total price: € 40.00 € 147.00 add to cart carrello

Books included in the offer:

L'ora dello spettatore. Come le immagini ci usano.

Edited by M. Di Monte and Gennari Santori F.
Roma, 2020; paperback, pp. 264, col. ill., cm 21x27.

FREE (cover price: € n.d.)

L'ora dello spettatore. Come le immagini ci usano.

Caravaggio. La Bottega del Genio

Roma, Museo Nazionale del Palazzo di Venezia - Sale Quattrocentesche, December 22, 2010 - May 29, 2011.
Edited by Falucci C.
Roma, 2010; paperback, pp. 118, b/w and col. ill., tavv., cm 24x28.
(Cataloghi Mostre. 49).

FREE (cover price: € 48.00)

Caravaggio. La Bottega del Genio

Caravaggio. La Cappella Contarelli

Roma, Palazzo Venezia, March 10 - October 15, 2011.
Edited by M. Cardinali and De Ruggieri M. B.
Roma, 2011; paperback, pp. 150, 60 b/w ill., 60 col. ill., 60 b/w plates, col. plates, cm 24x28.
(Cataloghi Mostre. 50).

FREE (cover price: € 59.00)

Caravaggio. La Cappella Contarelli

chiudi

Michael Heizer. Negative - Positive +

Fondazione Prada

Milano, Fondazione Prada, 15 dicembre 1996 - 31 gennaio 1997.
Seconda edizione.
Italian and English Text.
Milano, 1997; paperback, pp. 558, b/w and col. ill., cm 24x30.

ISBN: 88-87029-01-6 - EAN13: 9788887029017

Subject: Essays (Art or Architecture),Monographs (Sculpture and Decorative Arts),Painting,Sculpture

Period: 1960- Contemporary Period

Languages:  english, italian text   english, italian text  

Weight: 3.21 kg


For the his first one person show in Italy, the American artist Michael Heizer has created new works specifically for the Prada Foundation exhibition spaces.
Heizer, who is known for his immense works made in the American deserts, has not reduced in the scale in which he usually works. Creating installations that completely fill the large Foundation exhibition halls.
Hanging on the walls at the entrance of the exhibition are two steel paintings that deal with the relationship between positive and negative, as in the first shaped canvases of 1966-67. Inside the two frames, a square and a circle, the artist has enclosed empty space, making in this way void (or negative) an integral part of these works.
Following the same concept of positive and negative Heizer has created Negative Line, for the large rectangular hall, a work similar to Rift, which was made in 1968 in Nevada desert. The piece consists of a 30 cm deep steel line embedded in the floor forming zig-zag path around the columns in the hall.
Installed in the second large exhibition hall are Stele 1 and Stele 2, monumental blocks of diorite granite weighing respectively 16 and 18 tons. The rocks were taken by the artist from a California quarry to his workshop in Nevada. There, the surface of the rock was engraved with abstract patterns. The rocks were then caged in massive metal frames and transported over 5000 km from Nevada to New Jersey, where they were packed in preparation for the ocean crossing to the Genova port, after which they underwent the last leg of their journey to the Prada Foundation.

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