| Record ID | marc_columbia/Columbia-extract-20221130-019.mrc:71372101:1633 |
| Source | marc_columbia |
| Download Link | /show-records/marc_columbia/Columbia-extract-20221130-019.mrc:71372101:1633?format=raw |
LEADER: 01633cam a2200253 4500
001 9202959
005 20120716165408.0
008 120123s2011 gw 000 0 ger d
020 $a9783940953988
020 $a3940953989
035 $a(OCoLC)772498725
035 $a(GyWOH)har110350077
035 $a(OCoLC)ocn772498725
035 $a(NNC)9202959
040 $aERASA$cERASA$dOHX$dHFL$dNNC
050 4 $aN6490
082 04 $a700.411.2
100 1 $aGanzenberg, Christian.
245 10 $aBettina Krieg :$bAbysse /$cChristian Ganzenberg; Ludwig Seyfarth; Thomas Andrae; Moritz Kaufmann.
260 $aKöln :$bSnoeck Verlagsgesellschaft mbH,$c2012.
300 $a54 p. :$bill. ;$c30 cm.
520 8 $aBettina Krieg thrusts herself into the modern world of myriad images, initially simplifying them by breaking her representation down into black and white pen-and-ink drawings. However, both in her large compositions as well as her installations, one is very quickly drawn into the excessive detail out of which she arranges the myriad individual elements into entwined skeins. The objects themselves and graphic means seem to be working their way toward a central point rhizomatically before we ultimately lose sight of it in the overall maelstrom. And yet it would seem that the inclination of these surprising and physically impressive conglomerates is invariably oriented towards a higher order. Then suddenly a few pictures break free, issuing forth onto the floor of the exhibition space or cover chairs and other objects in the room.
600 10 $aKrieg, Bettina,$d1981-$vCatalogues raisonnés.
852 00 $bfaxlc$hN6888.K783$iA4 2012g