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Kippenberger

Good artists are never on holiday


"I am rather like a travelling salesman. I deal in ideas. I am far more to people than just someone who paints pictures."

Martin Kippenberger (1953-1997) was one of the most complex artists of the 80s and 90s. His œuvre could not be reduced to any one medium. To him, sculpture, painting, photography, drawing, catalogues, invitation cards and posters were all equally valid forms of artistic expression and he constantly played off one against another in an output so prolific that it verged on the inflationary. His maxim was that "good artists are never on holiday" and he demanded the same total commitment from those who viewed his works.

This book documents two decades of Martin Kippenberger`s work in 400 illustrations, from the early days of his Berlin office to his works for documenta X in Kassel and for the exhibition of sculpture in Münster, both of which were completed after his death.

With this book, the publisher wishes to pay homage to an extraordinary person and artist who died suddenly and unexpectedly in Vienna on 7 March 1997.

About the editors:
Art historian Burkhard Riemschneider runs an art gallery in Berlin and has published several monographs on contemporary artists.

Angelika Taschen studied art history and German literature in Heidelberg, gaining her doctorate in 1986. Working for TASCHEN since 1987, she has published numerous titles on architecture, photography, design, contemporary art, interiors, and travel.
Facts
Kippenberger

Kippenberger

Taschen, Dr. Angelika / Riemschneider, Burkhard (ED)
Flexicover, 18.4 x 24.5 cm (7.2 x 9.6 in.), 240 pages, $ 19.99
ISBN: 978-3-8228-2686-7
Multilingual Edition: English, French, German
Availability: In Stock
  • Reviews (3 items)toggle
"Taste always takes the first set in its on-going tennis match with politics. This pattern doesn't mean that paintings considered bad can't, in time, find revenge in being understood as more complex. Two recent books, Martin Kippenberger and Buttner (both Taschen 2003) attest to discourse's eventual victory. Both books, packed with hundreds of illustrations, assume these artists are major figures needing proper contextualization. More than mere monographs, they're here to right all the wrongs, to do battle with all the misreadings, of the last twenty years."
Art Papers, Atlanta, United States
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