Contact
art book cologne GmbH & Co. KG
Deutzer Freiheit 107
50679 Köln
Germany
Opening hours (office and showroom):
Monday to Friday 8 – 17
info@artbookcologne.de
Phone: +49 221 800 80 80
Fax: +49 221 800 80 82
About us
art book cologne, founded by Bernd Detsch in 1997, is a wholesale company and specializes in buying and selling high quality publications in art, art theory, architecture, design, photography, illustrated cultural history and all related subjects internationally. Our team includes specialists in art, culture, music, book trade and media but in spite of our diversity we have one common ground: the enthusiasm for unique art books.
We purchase remaining stocks from museums, publishers and art institutions. We sell these remainders to bookstores, museum shops, and art dealers all over the world.
Mark Bradford – Pickett's Charge
| Publisher | Yale University Press |
| Year | 2018 |
| Cover | Hardcover |
| Language | English |
| ISBN | 978-0-300-23077-2 |
| Pages | 96 |
| Weight | 652 g |
| More | |
| Author(s) | Stephane Aquin, Evelyn C. Hankins |
| Type of book | Exhib'publication |
| Museum / Place | Hirshhorn Museum, Washington |
| Article ID | art-46151 |
This beautifully illustrated book documents Pickett’s Charge, an ambitious and timely project by renowned artist Mark Bradford.
Eight new paintings extend nearly four hundred feet to form a 360-degree experience encircling an entire floor of the Hirshhorn Museum in Washington, D.C. Bradford’s monumental installation is inspired by the 1883 cyclorama painted by Paul Philippoteaux to commemorate the Battle of Gettysburg, which has been considered the critical turning point of the Civil War and, consequently, of American history. Elements from Philippoteaux’s paintings are among multiple layers of collaged paper that Bradford has scraped through to reveal hidden textures and complexities, and this interplay—between past and present, between the legible and the mysteriously evocative—encourages a reconsideration of history’s conventional linear narratives.
The catalogue features an interview with the artist by Stéphane Aquin and an essay by Evelyn Hankins that situates the site-specific project within a broader art historical context. With lavish images of the paintings and their installation, including two gatefolds, this book records a significant new contribution to socially engaged American art.
