Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Grosse, Katharina: Spectrum without Traces

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Circles and Discs

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

Scully, Sean: Dark Yet

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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Darren Almond / Carl Blechen: Landscapes
Texts Peter Pakesch, Anna Schultz

German / English
Hardcover with dust jacket
30 x 30 cm
60 pages
37 color illustrations
$ 60.00


Leaf through the book



The landscape images in this book were made over nearly two centuries: drawings and oil sketches by German painter Carl Blechen (1798–1840), who stands at the transition from romantic imagination to realist and even quasi-impressionist tendencies, and photographs by British conceptual artist Darren Almond (born 1971), whose works explore ideas of personal memory, cultural history, and time. In 1828 Blechen had departed on a lengthy trip to Italy, during which he made hundreds of drawings and found the immediacy of expression he is still renowned for. In 2014, Almond followed Blechen’s footsteps over the same alpine passes. He photographed night landscapes for his series Fullmoon as well as black and white day shots directly inspired by Blechen’s fascination for the light of the south to be found in the artist’s Italian Amalfi Sketchbook.

It is this fascination that unites the two artistic approaches, as Anna Schultz points out in her essay: “For both Blechen and Almond, the presence (and absence) of light serves as a precondition for representation which defines the picture-making process and forms their central subject as such.” Almond first staged the encounter between their different viewpoints in an exhibition at Galerie Max Hetzler in Berlin, and now, with an enlarged choice of images, in the present publication. Beyond their fascination for light and the places they both visited, the two artists meet in the historical awareness and the sensitivity for the passages of time expressed in their landscape images.


(excerpt from the essay by Peter Pakesch)

When Almond travelled to Italy in the wake of Carl Blechen, to take photos for his own Amalfi Sketchbook (2014), there was a double refraction of romantic approaches that permit a precise test of our perceptions. Blechen himself had been no naive romantic overwhelmed by nature. Nature, as he perceived it, had become something of a chamber drama. In his Italian views, the artist combined cultural memory with landscape settings. he was interested in the effects of mediterranean light but as he did not deny his experiences as a theatre set painter, a painting became like a stage for the light. “Proto-Impressionist”, this would later be termed. he did not know that photography was invented around this time, yet its effects were anticipated by his painterly genius, thanks to the strong impression the light of the south evidently made on the man from the north. This must have interested Darren Almond when he approached these same effects with his camera. And it turned out that the conditions – the narrowness of the valley, the influences of the weather – did not permit him to exploit the light of the full moon as he was wont to do. He was compelled to realize his ideas of differentiated light drawing the images in a different way. As in early photography, Almond was concerned to increase the intensity of light and shade within single scenes. Strong filters enabled him to use longer exposure times in full sunlight, conjuring up an unreality that recalls the moonlight imagery while it succeeds in transposing Blechen’s amazement at the light in his ink drawings into a different medium.

The surveying of the landscape, which often reflects the expanse of the world in Almond’s work, here defines a precisely limited vision with differentiated spaces and structures in black and white images. This surveying is naturally one of memory and the continuity of space as well. a reinsurance of cultural constants, a calibration of art. The place permits a new representation. The artist finds the same place in the knowledge that it is a different one.


In collaboration with Galerie Max Hetzler, Berlin