|
|
Saatchi Gallery: The Triumph of Painting
Meghan Dailey, Inka Essenhigh, Dexter Dalwood, Eberhard Havekost, Dana Schutz, Matthias Weischer, Michael Raedecker
Walther Konig
Walther Konig
This third volume documenting Saatchi's substantial collection of twentieth and twenty-first century painting includes Matthias Weischer's echoing architectural grids, Eberhard Havekost's barrenly unpeopled snapshots, Dexter Dalwood's...
continue >>
|
|
|
|
|
|
Eberhard Havekost 1996-2006
Mark Coetzee, Meghan Dailey, Ulrich Loock, Eberhard Havekost
Rubell Family Collection
Rubell Family Collection
The work of German artist Eberhard Havekost critiques the proverbial dialogue between painting and photography by establishing a visual language that hovers in the grey space between the two. What is at once apparent in the juxtaposition of these...
continue >>
|
|
|
|
|
|
Eberhard Havekost: Benutzeroberflache / User Interface
Schirmer/Mosel
Schirmer/Mosel
Eberhard Havekost is the youthful shooting star of the internationally acclaimed Leipzig School. His images, dubbed "photoshop realism" by critics are cool and distanced. Havekost makes the on-screen computer image the direct subject of his ...
continue >>
|
|
|
|
|
|
Eberhard Havekost: Harmonie
Susanne Kohler, Annelie Lutgens, Eberhard Havekost
Hatje Cantz Publishers
Hatje Cantz Publishers
What makes Eberhard Havekost's paintings so disquieting, so ambiguous? Perhaps it's the way he pairs photographic and video-inspired perspectives with large-format brushwork and controlled distortion, forcing lingering gazes accustomed to resting on...
continue >>
|
|
|
|
|
|
Imagination Becomes Reality: Part II
Jan Seewald, Alexander Birchler, Teresa Hubbard, Julian Gothe, Lothar Hempel, Frank Nitsche, Veron Urdarianu, Eberhard Havekost
Sammlung Goetz
Sammlung Goetz
Description: Imagination Becomes Reality is the catalogue for an exhibition cycle at the renowned Goetz Collection, conceived and planned by Ingvild Goetz to present visitors with a selection of the wide variety of forms and techniques in use by...
continue >>
|
|
|
|
|