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Displaying results 1 to 4 of 4.

  1. Utopian vistas
    the Mabel Dodge Luhan House and the American counterculture
    Author: Rudnick, Lois Palken
    Published: 1998
    Publisher:  Univ. of New Mexico Press, Albuquerque

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    Source: Leibniz-Zentrum für Literatur- und Kulturforschung
    Language: English
    Media type: Book
    ISBN: 0-8263-1926-2
    Edition: 1st paperbound pr.
    Subjects: Geistesleben; Taos <NM>; Luhan, Mabel Dodge; Freundeskreis; Taos <NM>; Geistesleben; Luhan, Mabel Dodge; Freundeskreis; Hippie-Kultur; Gegenkultur
    Other subjects: Luhan, Mabel Dodge; Hopper, Dennis
    Scope: XIV, 401 S. : Ill.
    Notes:

    Literaturverz. S. 373 - 384
  2. Colors, the polaroids
    Contributor: Hopper, Dennis; Rose, Aaron
    Published: [2016]; © 2016
    Publisher:  Damiani, Bologna

    After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper (1936–2010) returned to Los Angeles in the mid-’80s. In 1987, on the verge of directing Colors, Hopper made use of a Polaroid camera to document gang graffiti in Los Angeles. He... more

    Location:
    Zentralinstitut für Kunstgeschichte, Bibliothek
    Inter-library loan:
    No loan of volumes, only paper copies will be sent

     

    After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper (1936–2010) returned to Los Angeles in the mid-’80s. In 1987, on the verge of directing Colors, Hopper made use of a Polaroid camera to document gang graffiti in Los Angeles. He was particularly drawn to the abstract shapes of overlapping paint that appeared when graffiti had been covered up or written over, reminding him, he said, "that art is everywhere in every corner that you choose to frame and not just ignore and walk by." The Polaroids presented for the first time in this book are proof of that observation. Hopper firmly considered himself an "abstract expressionist and action painter by nature, and a Duchampian finger pointer by choice," subscribing wholeheartedly to the idea that "the artist of the future will merely point his finger and say it’s art--and it will be art." In turning the instantaneous, disposable nature of the medium of Polaroid film into pictures as deliberate and final as an image achieved by an artist painting on canvas, these images represent the first part of Hopper’s journey back to the world of photography, picking up where he had left off so many years before. This book is in many ways a companion to Drugstore Camera (2015), also edited and designed by Michael Schmelling, which presented Hopper’s personal photographs taken in Taos, New Mexico.

     
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    Source: Union catalogues
    Contributor: Hopper, Dennis; Rose, Aaron
    Language: English
    Media type: Book
    ISBN: 9788862084765
    Other identifier:
    9788862084765
    RVK Categories: AP 94100
    Subjects: Sofortbildfotografie; Graffito <Motiv>
    Other subjects: Hopper, Dennis (1936-2010); Hopper, Dennis / 1936-2010 / photographer; Graffiti / California / Los Angeles; Photography, Artistic; Los Angeles (Calif.) / In art
    Scope: 132 ungezählte Seiten, 21 x 24 cm
    Notes:

    Photographs
  3. Kunst? Ja, Kunst!
    die Sehnsucht der Bilder
    Author: Ammann, Jean-Christophe
    Publisher:  Westend-Verl., Frankfurt/Main

    Location:
    Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bibliothek
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  4. Colors, the polaroids
    Contributor: Hopper, Dennis; Rose, Aaron
    Published: [2016]; © 2016
    Publisher:  Damiani, Bologna

    After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper (1936–2010) returned to Los Angeles in the mid-’80s. In 1987, on the verge of directing Colors, Hopper made use of a Polaroid camera to document gang graffiti in Los Angeles. He... more

    Location:
    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
    Inter-library loan:
    Unlimited inter-library loan, copies and loan

     

    After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper (1936–2010) returned to Los Angeles in the mid-’80s. In 1987, on the verge of directing Colors, Hopper made use of a Polaroid camera to document gang graffiti in Los Angeles. He was particularly drawn to the abstract shapes of overlapping paint that appeared when graffiti had been covered up or written over, reminding him, he said, "that art is everywhere in every corner that you choose to frame and not just ignore and walk by." The Polaroids presented for the first time in this book are proof of that observation. Hopper firmly considered himself an "abstract expressionist and action painter by nature, and a Duchampian finger pointer by choice," subscribing wholeheartedly to the idea that "the artist of the future will merely point his finger and say it’s art--and it will be art." In turning the instantaneous, disposable nature of the medium of Polaroid film into pictures as deliberate and final as an image achieved by an artist painting on canvas, these images represent the first part of Hopper’s journey back to the world of photography, picking up where he had left off so many years before. This book is in many ways a companion to Drugstore Camera (2015), also edited and designed by Michael Schmelling, which presented Hopper’s personal photographs taken in Taos, New Mexico.

     
    Export to reference management software   RIS file
      BibTeX file
    Source: Union catalogues
    Contributor: Hopper, Dennis; Rose, Aaron
    Language: English
    Media type: Book
    ISBN: 9788862084765
    Other identifier:
    9788862084765
    RVK Categories: AP 94100
    Subjects: Sofortbildfotografie; Graffito <Motiv>
    Other subjects: Hopper, Dennis (1936-2010); Hopper, Dennis / 1936-2010 / photographer; Graffiti / California / Los Angeles; Photography, Artistic; Los Angeles (Calif.) / In art
    Scope: 132 ungezählte Seiten, 21 x 24 cm
    Notes:

    Photographs