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Carolina Nitsch Contemporary Art
Home
About
Recent Projects
Artists
Derrick Adams
Richard Artschwager
Louise Bourgeois
Kevin Beasley
Louise Bourgeois & Tracey Emin
Maurizio Cattelan
E.V. Day
Elmgreen & Dragset
Richard Dupont
Tracey Emin
Andi Fischer
Urs Fischer
Mary Heilmann
Jenny Holzer
Donald Judd
Mike Kelley
Ellsworth Kelly
Marilyn Minter
Barry Le Va
Vera Lutter
Matt Mullican
Bruce Nauman
Olaf Nicolai
Wangechi Mutu
Ebony G. Patterson
Raymond Pettibon
Thomas Schütte
Dieter Roth
Ed Ruscha
Tschabalala Self
Alyson Shotz
Kiki Smith
Cy Twombly
Mickalene Thomas
Nari Ward
Parkett Editions
El Anatsui
Nairy Baghramian
Ross Bleckner
Marlene Dumas
Nicole Eisenman
Adrian Ghenie
Theaster Gates
Isa Genzken
Liam Gillick
Felix Gonzalez Torres
Katharina Grosse
David Hammons
Sherrie Levine
Beatriz Milhazes
Meret Oppenheim
Laura Owens
Nicolas Party
Bridget Riley
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Donald Judd
Mike Kelley
Ellsworth Kelly
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Barry Le Va
Vera Lutter
Matt Mullican
Bruce Nauman
Olaf Nicolai
Wangechi Mutu
Ebony G. Patterson
Raymond Pettibon
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Dieter Roth
Ed Ruscha
Tschabalala Self
Alyson Shotz
Kiki Smith
Cy Twombly
Mickalene Thomas
Nari Ward
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Nairy Baghramian
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Liam Gillick
Felix Gonzalez Torres
Katharina Grosse
David Hammons
Sherrie Levine
Beatriz Milhazes
Meret Oppenheim
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Books - Multiples - Ephemera - Gifts Sigmar Polke - Grossmünster Zurich - book
polke grossmunster zurich book_.jpg Image 1 of
polke grossmunster zurich book_.jpg
polke grossmunster zurich book_.jpg

Sigmar Polke - Grossmünster Zurich - book

$60.00

208 pages, 11 3/4 x 8 1/2”, hardcover, 110 color images, English-German Parkett Publishers / Grossmünster Zürich ISBN 978-3-907582-27-5

With contributions by Gottfried Boehm, Jacqueline Burckhardt, Bice Curiger, Ulrich Gerster, Regine Helbling, Claude Lambert, Käthi La Roche, Katharina Schmidt, and Marina Warner.

In fall 2009 Sigmar Polke (1941–2010) completed a series of twelve windows for the Grossmünster cathedral in Zurich, setting new standards for the mutual relationship between art and church. One group of seven Romanesque windows shows luminous ‘mosaics’ of thinly sliced agate, some of it artificially colored, to produce pulsating blocks of back-lit color. For the remaining five windows, Polke designed images of figures from the Old Testament, based on medieval illuminations, which have themselves undergone transformation in the course of their long journey through time. Polke’s figures now appear as radiantly contemporary icons created in colored glass, using a variety of traditional and customized techniques devised especially for this project.

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208 pages, 11 3/4 x 8 1/2”, hardcover, 110 color images, English-German Parkett Publishers / Grossmünster Zürich ISBN 978-3-907582-27-5

With contributions by Gottfried Boehm, Jacqueline Burckhardt, Bice Curiger, Ulrich Gerster, Regine Helbling, Claude Lambert, Käthi La Roche, Katharina Schmidt, and Marina Warner.

In fall 2009 Sigmar Polke (1941–2010) completed a series of twelve windows for the Grossmünster cathedral in Zurich, setting new standards for the mutual relationship between art and church. One group of seven Romanesque windows shows luminous ‘mosaics’ of thinly sliced agate, some of it artificially colored, to produce pulsating blocks of back-lit color. For the remaining five windows, Polke designed images of figures from the Old Testament, based on medieval illuminations, which have themselves undergone transformation in the course of their long journey through time. Polke’s figures now appear as radiantly contemporary icons created in colored glass, using a variety of traditional and customized techniques devised especially for this project.

208 pages, 11 3/4 x 8 1/2”, hardcover, 110 color images, English-German Parkett Publishers / Grossmünster Zürich ISBN 978-3-907582-27-5

With contributions by Gottfried Boehm, Jacqueline Burckhardt, Bice Curiger, Ulrich Gerster, Regine Helbling, Claude Lambert, Käthi La Roche, Katharina Schmidt, and Marina Warner.

In fall 2009 Sigmar Polke (1941–2010) completed a series of twelve windows for the Grossmünster cathedral in Zurich, setting new standards for the mutual relationship between art and church. One group of seven Romanesque windows shows luminous ‘mosaics’ of thinly sliced agate, some of it artificially colored, to produce pulsating blocks of back-lit color. For the remaining five windows, Polke designed images of figures from the Old Testament, based on medieval illuminations, which have themselves undergone transformation in the course of their long journey through time. Polke’s figures now appear as radiantly contemporary icons created in colored glass, using a variety of traditional and customized techniques devised especially for this project.

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