neue wohlfeile Ausgabe, einundsechzigstes bis siebzigstes tausend, textlich vermehrt
460 S. plus Verlgsanzeigen
OLw., zweifarbig, mit Goldprägung
mit 134 zum Teil farbigen Illustrationen (Zeichnungen, Stiche, Photographien)
Text dt. - Andere Ausgabe: „Luxus-Ausgabe auf Kunstdruckpapier in Halbfranz mit Lederpressung (15 Mark); Liebhaberausgabe in zwei Ganzlederbänden (100 Mark).“ Düsseldorf: Vier Falken Verlag 1950. - Jugenstileinband.
Text engl. - „The first monograph covering Dibbets’s iconic photographic oeuvre. Dutchman Jan Dibbets (b. 1941) is one of the principal artists to have introduced photography into the plastic arts, and this as early as the 1960s. At a time when photography has massively invaded contemporary art institutions - not without generating confusion and excess - it is not easy to evaluate the full radicality of Dibbets's approach. This radicalism has nothing to do with modernist overkill. Dibbets did not merely go further than others; rather, he simply went elsewhere. Beginning in 1967, he embarked on a long-range project which, as we advance into the 21st century, he seems not to have abandoned: the "pictorializing" of photography.
Jan Dibbets is one of the few artists of his generation and reputation not to have seen his oeuvre accorded full monographic coverage. This exhaustive study seeks to fill this gap by covering almost fifty years of his photographic oeuvre.“ (Press text).
Text engl. - „Marcel Mariën (1920-1993) was a key figure of Belgian post-war surrealism. He is widely acknowledged for his landmark work on Belgian surrealism and his collaboration with future situationists like Guy-Ernest Debord in his journal Les Lèvres nues. Nevertheless, Mariën’s texts, collages, photographs, film, and objects have to date remained understudied. - This is the first volume devoted to Mariën's photographic work. Through a series of close readings, Mieke Bleyen connects the collage and photographic practices of Mariën with his wider oeuvre, particularly with his archival and editorial activities. By applying Gilles Deleuze and Félix Guattari's concept of the ‘minor’, this book proposes an alternative reading of Mariën’s anti-aesthetics and focuses on the affective range of his work. The figure of Mariën also serves as a case study that offers new perspectives on Belgian surrealism's relation to mainstream surrealism and the role of photography within surrealism. This volume, moreover, raises a critique on ‘major’ art history's conception of time as linear progression and argues instead for twisted and extended temporalities in the case of Marcel Mariën. With previously unpublished images from Mariën's private archive.“ (Press text).