Stephen Kaltenbach (35 results)

First Edition. First edition. Oblong softcover. 45 pages. Exhibition catalog for a show that ran February 10 through May 16, 2004 at Palmer Museum of Art and then traveled for additional dates at two other locations. Text by the curator Leo G. Mazow and with an interview of Stephen Kaltenbach and Sandra Shannonhouse. Includes numerous color illustrations, checklist and selected bibliography. A clean very near fine copy in wrappers.…

Condition: New.

Paperback. Condition: new. Paperback. Kaltenbach's staggering, psychedelic portrait of his dying father is a transcendent meditation on life, afterlife and symbiosis with the universeArtist Stephen Kaltenbach was working at the bleeding edge of Conceptualism when he dropped out of newly named SoHo in 1969 to pursue a far stranger dream. Trading his heady downtown atmosphere for the relative isolation of a Northern California barn, he spent the better part of the next decade painting a colossaland colossally cosmicportrait of his dying dad. At nearly 15 feet wide, its a sincerely wondrous and confounding artwork.Portrait of My Father is stunning on its face, where each beard whisker explodes a window onto eternity, and from across the room, as a photorealistic depiction of a man on deaths door. But equally staggering is that Portrait was painted by an artist who moved west as a Conceptual gesture in and of itself, under the terms of his self-defined Protocol of Oppositesa mode dedicated to what was least expected of him. While the painting was essentially (and intentionally) the most heretical artwork he could imagine, Kaltenbachs quest was simultaneously earnest, driven by spiritual and pharmacological awakening, love for his father, and commitment to seclusion and process. Since 2000, Portrait has been on permanent view at the Crocker Art Museum in Sacramento, where its a cornerstone of the permanent collection.The definitive history of the painting and the intentionally oppositional choices that led to its implausible creation, the book consists of an epic interview with the artist conducted and annotated with context and corrections by curator and writer Jordan Stein (Miyoko Ito: Heart of Hearts, 2023), who also offers an introduction, alongside a trove of archival material. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. Kaltenbach's staggering, psychedelic portrait of his dying father is a transcendent meditation on life, afterlife and symbiosis with the universeArtist Stephen Kaltenbach was working at the bleeding edge of Conceptualism when he dropped out of newly named SoHo in 1969 to pursue a far stranger dream. Trading his heady downtown atmosphere for the relative isolation of a Northern California barn, he spent the better part of the next decade painting a colossal-and colossally cosmic-portrait of his dying dad. At nearly 15 feet wide, it's a sincerely wondrous and confounding artwork.Portrait of My Father is stunning on its face, where each beard whisker explodes a window onto eternity, and from across the room, as a photorealistic depiction of a man on death's door. But equally staggering is that Portrait was painted by an artist who moved west as a Conceptual gesture in and of itself, under the terms of his self-defined "Protocol of Opposites"-a mode dedicated to what was least expected of him. While the painting was essentially (and intentionally) the most heretical artwork he could imagine, Kaltenbach's quest was simultaneously earnest, driven by spiritual and pharmacological awakening, love for his father, and commitment to seclusion and process. Since 2000, Portrait has been on permanent view at the Crocker Art Museum in Sacramento, where it's a cornerstone of the permanent collection.The definitive history of the painting and the intentionally oppositional choices that led to its implausible creation, the book consists of an epic interview with the artist conducted and annotated with context and corrections by curator and writer Jordan Stein (Miyoko Ito: Heart of Hearts, 2023), who also offers an introduction, alongside a trove of archival material.…

Condition: new.

Hard cover. Condition: Very good. No jacket. In shrink wrap.

Paperback. Condition: Brand New. 160 pages. 9.00x6.00x8.98 inches. In Stock.

Condition: New.

Paperback. Condition: Brand New. 160 pages. 9.00x6.00x8.98 inches. In Stock.

paperback. Condition: New. Special order direct from the distributor.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 133 pages. 10.25x10.25x0.75 inches. In Stock.

Softcover. Condition: Good. No jacket. Inscribed by author. Covers are shelf worn and top outside corner is bumped. Front cover is creased parallel to spine. Binding is tight. Last name of author is written in ink on spine. Inside is clean.

Paperback. Condition: new. Paperback. Kaltenbach's staggering, psychedelic portrait of his dying father is a transcendent meditation on life, afterlife and symbiosis with the universeArtist Stephen Kaltenbach was working at the bleeding edge of Conceptualism when he dropped out of newly named SoHo in 1969 to pursue a far stranger dream. Trading his heady downtown atmosphere for the relative isolation of a Northern California barn, he spent the better part of the next decade painting a colossaland colossally cosmicportrait of his dying dad. At nearly 15 feet wide, its a sincerely wondrous and confounding artwork.Portrait of My Father is stunning on its face, where each beard whisker explodes a window onto eternity, and from across the room, as a photorealistic depiction of a man on deaths door. But equally staggering is that Portrait was painted by an artist who moved west as a Conceptual gesture in and of itself, under the terms of his self-defined Protocol of Oppositesa mode dedicated to what was least expected of him. While the painting was essentially (and intentionally) the most heretical artwork he could imagine, Kaltenbachs quest was simultaneously earnest, driven by spiritual and pharmacological awakening, love for his father, and commitment to seclusion and process. Since 2000, Portrait has been on permanent view at the Crocker Art Museum in Sacramento, where its a cornerstone of the permanent collection.The definitive history of the painting and the intentionally oppositional choices that led to its implausible creation, the book consists of an epic interview with the artist conducted and annotated with context and corrections by curator and writer Jordan Stein (Miyoko Ito: Heart of Hearts, 2023), who also offers an introduction, alongside a trove of archival material. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Condition: New. KlappentextThe first comprehensive monograph on a lost veteran of American conceptualismA pioneering figure in the history of conceptual art, Sacramento-based artist and author Stephen Kaltenbach (born 1940) is.

Paperback. Condition: New. Kaltenbach's staggering, psychedelic portrait of his dying father is a transcendent meditation on life, afterlife and symbiosis with the universeArtist Stephen Kaltenbach was working at the bleeding edge of Conceptualism when he dropped out of newly named SoHo in 1969 to pursue a far stranger dream. Trading his heady downtown atmosphere for the relative isolation of a Northern California barn, he spent the better part of the next decade painting a colossal-and colossally cosmic-portrait of his dying dad. At nearly 15 feet wide, it's a sincerely wondrous and confounding artwork.Portrait of My Father is stunning on its face, where each beard whisker explodes a window onto eternity, and from across the room, as a photorealistic depiction of a man on death's door. But equally staggering is that Portrait was painted by an artist who moved west as a Conceptual gesture in and of itself, under the terms of his self-defined "Protocol of Opposites"-a mode dedicated to what was least expected of him. While the painting was essentially (and intentionally) the most heretical artwork he could imagine, Kaltenbach's quest was simultaneously earnest, driven by spiritual and pharmacological awakening, love for his father, and commitment to seclusion and process. Since 2000, Portrait has been on permanent view at the Crocker Art Museum in Sacramento, where it's a cornerstone of the permanent collection.The definitive history of the painting and the intentionally oppositional choices that led to its implausible creation, the book consists of an epic interview with the artist conducted and annotated with context and corrections by curator and writer Jordan Stein (Miyoko Ito: Heart of Hearts, 2023), who also offers an introduction, alongside a trove of archival material.…

Softcover, 66 pages; as new condition; clean and crisp; no internal marks. (Blank gray spine). Foreign shipping may be extra.

597 pp.; 28.7 x 21.5 cm.; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held at Fondazione Prada, ca'' Corner della Regina, Venice, Italy, June 1 ? November 3, 2013. Exhibition was based on the original 1969 show--"Live in Your Head : When Attitudes Become Form : Works, Concepts, Processes, Situations, Information / wenn Attitüden Form werden : Werke, Konzepte, Vorgänge, Situationen, Information / quand les attitudes deviennent forme : oeuvres, concepts, processus, situations, information / quando attitudini diventano forma : opere, concetti, processi, situazioni, informazione"--held at Kunsthalle Bern, Bern, Switzerland, March 22 - April 27, 1969, curated by Harold Szeemann. The 2013 exhibition, curated by Germano Celant, in dialogue with Thomas Demand and Rem Koolhaas, was a physical reconstruction of the original show transported to a palazzo in Venice. This 2023 catalogue includes texts by Germano Celant, Dieter Roelstraete, Claire Bishop, Piere Bal-Blanc, Francesco Stocchi, Boris Groys, Mary Anne Staniszewski, Charles Esche, Christian Rattemeyer, Anne Rorimer, Jens Hoffmann, Benjamin H.D. Buchloh, Gwen L. Allen, Chus Martínez, Terry Smith, Jan Verwoert, and Glenn Phillips. Artists include Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Mel Bochner, Alighiero Boetti, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Hanne Darboven, Walter de Maria, Jan Dibbets, Ger van Elk, Rafael Ferrer, Barry Flanagan, Ted Glass, Hans Haacke, Michael Heizer, Eva Hesse, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Stephen Kaltenbach, Jo Ann Kaplan, Edward Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Bernd Lohaus, Richard Long, Roelof Louw, Bruce McLean, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Panamarenko, Pino Pascali, Paul Pechter, Michelangelo Pistoletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Frederick Lane Sandback, Alan Saret, Sarkis, Jean-Frederic Schnyder, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Frank Lincoln Viner, Franz Erhard Walther, William Wegman, Lawrence Weiner, William T. Wiley, Gilberto Zorio, and an interview with Germano Celant. Includes a "Register" (list of works, documents, and objects related to both exhibitions) and a selected bibliography. NEW. As issued in publisher-issued shrink wrap. Due to large size and weight additional shipping charges will be required for international orders.…

Kunstpostkarte (knitterspurig, Vorderseitig Arbeit von ihm : Time Capsule : Open after WW III), rückseitig mit gedruckter Einladung zu einer Ausstellungseröffnung in Düsseldorf (Galerie Konrad Fischer) eigenhändig signiert STEVEN.

Paperback. Condition: Near fine in wraps. 18 x 24cm 160pp near fine paperback, white and grey wraps. Hauser & Wirth Library stamp, bottom right corner, front free end paper. German and English text describing each of the twelve artists included, together with black and white and some colour reproductions of the various works.…

24 pp.; 28 x 21.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held January 13 - February 13, 1983. Curated and with essay by Cynthia Charters and L. Price Amerson. Artists include Bruce Nauman, William Allan, Robert Arneson, Jerrold Ballaine, Richard C., Michael Dunlavey, Jack Fulton, Edward Higgins, Ray Johnson, Stephen Kaltenbach, Rosa Esman, James Melchert, Jack Ogden, Paul Pechter, Ron Peetz, Lawrence Dean Phillips, Michael Stevens, Phil Weidman, Martial Westburg, Dorothy Wiley, Jeanette Wiley, William T. Wiley, William Witherup and William Yates. Includes exhibition checklist. Fair / Good. Rubbing and bumping of covers, corners, and spine. Bumping of corners of pages, contents otherwise clean and unmarked.…

240 pp.; 22.5 x 20.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed "This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. . This book produces a collection of already old material. . In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That." Includes artists Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra. Text in Italian. Fair / Good. Two 3 cm. tears to upper spine edge. Moderate rubbing and light yellowing of covers. Moderate Foxing on inside front and back covers and scattered throughout the interior. Name of previous owner in ink on first free inside page. 1 cm. dog ear to corner of folded interior of back cover.…

Softcover. Condition: Near Fine. Magazine. Edited by Vito Acconci and Bernadette Mayer. Quarto. About near fine with crease to rear corner, miniscule chip to front corner and a hint of toning. The seventh and final issue of Vito Acconci and Bernadette Mayer experimental and uncommon magazine. Contributors include Anne Waldman, John Giorno, Hannah Weiner, Lewis Warsh, Marjorie Strider, Adrian Piper, Lil Picard, Arakawa, Bobbi Gormley, Matthew Klein, Deborah Hollingworth, Keith Hollinger, Gregory Battcock, Scott Burton, James Lee Byars, Rosemarie Castoro, Eduardo Costa, Bill Creston, Stephen Kaltenbach, Les Levine, Lucy Lippard, Meridith Monk, Ben Patterson, and John Perreault. …

[12] pp.; 23 x 15 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held May 19 - June 19, 1969, and symposium held June 17, 1969 via telephone hook-up form New York, Ottawa and Burnaby. Short texts by the artists in the exhibition describing their work. Edited by Seth Siegelaub. Artists include: Terry Atkinson, Michael Baldwin, Robert Barry, Jan Dibbets, Douglas Huebler, Stephen Kaltenbach, Joseph Kosuth, Sol LeWitt, N.E. Thing Co., and Lawrence Weiner. Includes exhibition checklist. References : "Six Years, The Dematerialization of the Art Object from 1966 to 1972 : A Cross-Reference Book of Information on Some Esthetic Boundaries .:" Praeger Publishers Inc., NY / DC : Praeger Publishers Inc., 1973, pp. 98. "Seth Siegelaub : Beyond Conceptual Art" by Leontine Coelewij, Sara Martinetti, Marja Bloem, Julia Bryan-Wilson, Jo Melvin, Götz Langkau, Matilda McQuaid, Alan Kennedy, Seth Siegelaub. Köln and Amsterdam, Germany / Netherlands : Verlag der Buchandlung Walther König / Stedelijk Museum, 2016, pp. 166-167. Very Good. Light cover wear. Contents clean and unmarked.…

2 vol. : [unpaginated] ; [unpaginated]; 23.5 x 25 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Two volume exhibition catalogue published in conjunction with the show "10th Tokyo Biennale", held at the Tokyo Metropolitan Art Gallery, May 10 - May 30, 1970; Kyoto Municipal Art Museum, Kyoto, June 6 - June 28, 1970; Aichi Prefectural Art Gallery, Nagoya, July 15 - July 26, 1970 and Fukuoka Prefectural Culture House, Fukuoka, August 11 - August 16, 1970. Artists include: Dietrich Albrecht, Carl Andre, Boezem, Daniel Buren, Christo, Jan Dibbets, Ger Van Elk, Kohi Enokura, Luciano Fabro, Barry Flanagan, Hans Haacke, Michio Horikawa, Enji Inumaki, Stephen J. Kaltenbach, Tatsuo Kawaguchi, On Kawara, Kazushige Koike, Stanislav Kolibal, Susumu Koshimizu, Jannis Kounellis, Edward Krasinski, Sol LeWitt, Roelof Louw, Yutaka Matsuzawa, Mario Merz, Katsuhiko Narita, Bruce Nauman, Hitoshi Nomura, Panamarenko, Giuseppe Penone, Markus Raetz, Klaus Rinke, Reiner Ruthenbeck, Jean-Frédéric Schnyder, Richard Serra, Satoru Shoji, Keith Sonnier, Jiro Takamatsu, Shintaro Tanaka, and Gilberto Zorio. Larger booklet includes essay by Yusuke Nakahara and artists' biographies, statements, exhibition histories, and bibliographies, as well as some illustrations. The smaller booklet contains the exhibition catalogue and more documentation of the Biennale. Text in English and Japanese. Good / Very Good. Mild bump to top right corner of both volumes. Name of previous owner in red ink on first inside page of both volumes. Both copies are otherwise in Very Good condition.…