Hylla
Personnamn
Titel och upphov Das Glück ist ohne Pardon : Polaroids
Varianttitel
Utgivning, distribution etc. Hatje Cantz , Ostfildern-Ruit : 2003
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning 127 s. : ill. (huvudsakligen i färg)
Anmärkning: Allmän Parallelltext på tyska och engelska Utgitt i forbindelse med utstillingen Das Glück ist ohne Pardon. Anna und Bernhard Blume. Polaroids, Kunsthalle Göppingen, 29. juni til 10. august 2003
Personnamn
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Uniform titel
ISBN 3-7757-9153-1 3-7757-9153-1
Antal i kö:
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*035 $a(Ko)18734
*0410 $ager$aeng
*084 $aInz Blume, Anna
*084 $aInz Blume, Bernhard
*1001 $aBlume, Anna
*24514$aDas Glück ist ohne Pardon :$bPolaroids /$cAnna & Bernhard Blume ; [Herausgeber: Werner Meyer ; Redaktion: Annett Reckert ; übersetzungen: Malcolm Bell]
*24611$aJoy knows no mercy
*260 $aOstfildern-Ruit :$bHatje Cantz ,$c2003
*300 $a127 s. :$bill. (huvudsakligen i färg)
*500 $aParallelltext på tyska och engelska
*500 $aUtgitt i forbindelse med utstillingen Das Glück ist ohne Pardon. Anna und Bernhard Blume. Polaroids, Kunsthalle Göppingen, 29. juni til 10. august 2003
*60014$aBlume, Anna,$d1937-
*60014$autställningskataloger
*60014$aBlume, Bernhard,$d1937-
*60014$autställningskataloger
*650 4$aFotokonst
*650 4$aFotografer
*650 4$a1945-
*650 4$aTyskland
*7001 $aMeyer , Werner$4edt
*7001 $aBlume, Bernhard$4art
*7101 $aKunsthalle Göppingen
*7300 $aJoy knows no mercy
*8520 $cFOTOGRAFI - Inz Blume
*950 $aPhotography, Artistic
*950 $aPorträttfotografi
*950 $aFotokonst
^
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This book presents a collection of digitally processed Polaroid images and Polaroid collages by Anna & Bernhard Blume, produced between 1988 and 2000. The series, entitled Principle of Cruelty , was a central focus of their work during the nineties. The Cologne artist couple, both halves of which were born in 1937, followed their first photographs with a series of works that developed from restrained, experimental early works to a lusty, orgiastic massacre of physiognomic deformation and destruction. Here artists' faces are tortured and distorted by trivial plastic objects, coat hangers and brightly colored household utensils. The honorable, classical genre of the artist self-portrait is transformed into a sequence of shameless distortions that, in the words of Anna & Bernhard Blume, "put to rest the myth of the portrait and the autonomy of the subject it seeks to convey." In the interplay of the blood-red Polaroid images and adjacent statements inspired by French philosopher Cl ment Rosset, we recognize the sarcastic denial of all comforting metaphysical theories and a villainous pleasure in catastrophe: Joy knows no mercy.