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Neo-expressionism

 Subject
Subject Source: Sackner Database

Found in 8 Collections and/or Records:

Die Irren - Die Haftlinge / Bernhard, Thomas ; Zylla, Klaus., 1994

 Item
Identifier: CC-28528-29808
Scope and Contents

The poem is taken from Thomas Bernhard's "Gessamalte Gedichte" published by Volker Bohn, Frankfurt 1991. The calligraphy, design and drawings were done by Klaus Zylla. The book was published in 1994 but assembled in 1997 for the Sackner Archive as indicated by Zylla's dating of his signature on the colophon, the six drawings specially done for this copy, and the special inscription in black paint for the slipcase. Since the colophon does not mention drawings, this is probably a unique copy. The poems are mainly written in a thick black painted, neo-expressionist calligraphic style which accompany neo-expressionistic, large, line drawings of human-like, grotesque figures. The drawings that depict neo-expressionistic, human like creatures and calligraphic poetry are rendered in chalk, pastels, white ink, and gouache. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1994

[For Marvin & Ruth Sackner's Living Archive] / Andryczuk, Hartmut., 1993

 Item
Identifier: CC-26674-27144
Scope and Contents

The main image is a neo-expressionistic human figure. The typed words along the left side appear to have been typed automatically. -- Source of annotation: Marvin or Ruth Sackner.

Dates: 1993

[Untitled] / Tobias, Gert ; Tobias, Uwe., 2007

 Item
Identifier: CC-47819-68839
Scope and Contents Bookfinder.com: Edited by Stefan Gronert, Matthia Lobkeinterview and text (German/English) by Stefan Gronert, Matthia Lobke184 p. with 160 coloured illustrations290 x 240 mm, hardcover ISBN 978-3-936859-76-8 Now an overview!Following on from the two artists¿ editions, one of which »Come and see before the tourists will do« is already sold out, we have the first comprehensive catalogue representing all the brothers¿ solo exhibitions up to now in each of their spatially exact, conceptual permutations. The brothers are continually and flamboyantly fencing in whole spaces with display cabinets or drawing blocs, as well as series of prints, in order to structure the architecture more clearly, to mark a kind of contextual parenthesis here and there, or to underscore the parity, that is to say, the serial aspect of their work. In so doing, each of these works exists in its own right and by no means needs to be staged; thus this book depicts in exemplary fashion ¿ alongside the...
Dates: 2007