New poems from the author of Going Fast, with original illustrations by Anselm Kiefer. A can of shaving cream inflates A ping-pong ball of lather, Thick, hot, smaller than an atom, soon The size of the world. This does take time to happen. Back at the start Again, a pinprick swells so violently It shoots out Hallways to other worlds, But keeps expanding Till it is all There is. The universe is all there is. --from "Mirror Full of Stars" The Cosmos Poems were commissioned by the American Museum of Natural History to inaugurate and celebrate their new planetarium, which will open in the year 2000. This limited edition is signed by the author.

The Cosmos Poems

Literature & Fiction

Kiefer, Anselm

Seidel, Frederick

Poetry

Farrar. Straus & Giroux

Offers a brief profile of the German artist, reproduces a book of his watercolors, which include seascapes and nudes, and discusses the themes of his work

A Book by Anselm Kiefer

Arts & Photography

History & Criticism

George Braziller, Inc.

Text: English (translation) 
Original Language: German

The Books of Anselm Kiefer, 1969-1990

Individual Artists

George Braziller

Anselm Kiefer is best known for his brooding forests and somber fields encrusted with debris, and for his haunted monuments reeking of the Nazi past. This series of delicately executed watercolorslandscapes and a surprising sequence of erotic nudesreveals a wholly different side to the artist. In 1974 Kiefer traveled to the coast of Norway. Three years later, using photographs he had taken during his trip as an aide-memoire, he painted Erotik im Fernen Osten oder: Transition from cool to warm, a work that incorporates his deepest aesthetic and philosophical concerns. In these lyrically expressive seascapes and landscapes, the icebergs and frigid skies of Norwegian winters are rendered in deep blue, violet, and purple tones. As the sequence gives way to lush female nudes, the palette grows brighter, and there is a virtual explosion of color and form that evokes seasonal changes. The spontaneity and simplicity of these images are expressions of Kiefer's warning against intellectual, as opposed to visceral, understanding. With splendid reproductions of each of the series' sixty-five watercolors, as well as images from two other books by the artist, this publication demonstrates Kiefer's brilliant use of the book form as a means of artistic expression. 95 color illustrations.

Erotik im Fernen Osten Oder

226pp. DJ: Very Good+++. The Book: Near Fine. 302 illustrations, incld. 253 plates in full color.

The High Priestess

Zweite, Armin

Harry N.Abrams, Inc.

Notebooks, Volume 1, 1998-99 (The German List)

“For a long time, it was not clear if I would become a writer or an artist,” says Anselm Kiefer, whose paintings and sculptures have made him one of the most significant and influential artists of our time. Since he was awarded the Peace Prize by the German Book Trade in 2008, his essays, speeches, and lectures have gradually received more attention, but until now his diary accounts have been almost completely unknown. The power in Kiefer’s images, however, is rivaled by his writings on nature and history, literature and antiquity, and mysticism and mythology. The first volume of Notebooks spans the years 1998-1999 and traces the origins and creative process of Kiefer’s visual works during this period. In this volume, Kiefer returns constantly to his touchstones: sixteenth-century alchemist Robert Fludd, German romantic poet Novalis, Martin Heidegger, Ingeborg Bachmann, Robert Musil, and many other writers and thinkers. The entries reveal the process by which his artworks are informed by his reading—and vice versa—and track the development of the works he created in the late 1990s. Translated into English for the first time by Tess Lewis, the diaries reveal Kiefer’s strong affinity for language and let readers witness the process of thoughts, experiences, and adventures slowly transcending the limits of art, achieving meaning in and beyond their medium. Praise for Kiefer “His works recall, in this sense, the grand tradition of history painting, with its notion about the elevated role of art in society, except that they do not presume moral certainty. What makes Kiefer’s work so convincing . . . is precisely its ambiguity and self-doubt, its rejection of easy solutions, historical amnesia, and transcendence.”—New York Times “Wordiness for Kiefer is painterliness. The library and the gallery, the book and the frame inseparable, even interchangeable, in his monumental archive of human memory. Not since Picasso’s Guernica have pictures demanded so urgently that we studiously reflect and recollect in their presence.”—Simon Schama

Seagull Books

“For a long time, it was not clear if I would become a writer or an artist,” says Anselm Kiefer, whose paintings and sculptures have made him one of the most significant and influential artists of our time. Since he was awarded the Peace Prize by the German Book Trade in 2008, his essays, speeches, and lectures have gradually received more attention, but until now his diary accounts have been almost completely unknown. The power in Kiefer’s images, however, is rivaled by his writings on nature and history, literature and antiquity, and mysticism and mythology. The first volume of Notebooks spans the years 1998-1999 and traces the origins and creative process of Kiefer’s visual works during this period. In this volume, Kiefer returns constantly to his touchstones: sixteenth-century alchemist Robert Fludd, German romantic poet Novalis, Martin Heidegger, Ingeborg Bachmann, Robert Musil, and many other writers and thinkers. The entries reveal the process by which his artworks are informed by his reading—and vice versa—and track the development of the works he created in the late 1990s. Translated into English for the first time by Tess Lewis, the diaries reveal Kiefer’s strong affinity for language and let readers witness the process of thoughts, experiences, and adventures slowly transcending the limits of art, achieving meaning in and beyond their medium.  Praise for Kiefer  “His works recall, in this sense, the grand tradition of history painting, with its notion about the elevated role of art in society, except that they do not presume moral certainty. What makes Kiefer’s work so convincing . . . is precisely its ambiguity and self-doubt, its rejection of easy solutions, historical amnesia, and transcendence.”—New York Times “Wordiness for Kiefer is painterliness. The library and the gallery, the book and the frame inseparable, even interchangeable, in his monumental archive of human memory. Not since Picasso’s Guernica have pictures demanded so urgently that we studiously reflect and recollect in their presence.”—Simon Schama

“I think in pictures. Poems help me with this. They are like buoys in the sea. I swim to them, from one to the other. In between, without them, I am lost. They are the handholds where something masses together in the infinite expanse.”—Anselm Kiefer The only visual artist to have won the Peace Prize of the German Book Trade, Anselm Kiefer is a profoundly literary painter. In the ten conversations with the writer and theologian Klaus Dermutz collected here, Kiefer returns to the essential elements of his art, his aesthetics, and his creative processes. Kiefer describes how the central materials of his art—lead, sand, water, fire, ashes, plants, clothing, oil paint, watercolor, and ink—influence the act of creation. No less decisive are his intellectual and artistic touchstones: the sixteenth-century Jewish mystic Isaac Luria, the German Romantic poet Novalis, Ingeborg Bachmann, Paul Celan, Martin Heidegger, Marcel Proust, Adalbert Stifter, the operas of Richard Wagner, the Catholic liturgy, and the innovative theater director and artist Tadeusz Kantor. Kiefer and Dermutz discuss all of these influential thinkers, as well as Kiefer’s own status as a controversial figure. His relentless examination of German history, the themes of guilt, suffering, communal memory, and the seductions of destruction have earned him equal amounts of criticism and praise. The conversations in this book offer a rare insight into the mind of a gifted creator, appealing to artists, critics, art historians, cultural journalists, and anyone interested in the visual arts and the literature and history of the twentieth century.

Anselm Kiefer in Conversation with Klaus Dermutz (The German List)

Dermutz, Klaus

“For a long time, it was not clear if I would become a writer or an artist,” says Anselm Kiefer, whose paintings and sculptures have made him one of the most significant and influential artists of our time. Since he was awarded the Peace Prize by the German Book Trade in 2008, his essays, speeches, and lectures have gradually received more attention, but until now his diary accounts have been almost completely unknown. The power in Kiefer’s images, however, is rivaled by his writings on nature and history, literature and antiquity, and mysticism and mythology. The first volume of Notebooks spans the years 1998-1999 and traces the origins and creative process of Kiefer’s visual works during this period. In this volume, Kiefer returns constantly to his touchstones: sixteenth-century alchemist Robert Fludd, German romantic poet Novalis, Martin Heidegger, Ingeborg Bachmann, Robert Musil, and many other writers and thinkers. The entries reveal the process by which his artworks are informed by his reading—and vice versa—and track the development of the works he created in the late 1990s. Translated into English for the first time by Tess Lewis, the diaries reveal Kiefer’s strong affinity for language and let readers witness the process of thoughts, experiences, and adventures slowly transcending the limits of art, achieving meaning in and beyond their medium. Praise for Kiefer “His works recall, in this sense, the grand tradition of history painting, with its notion about the elevated role of art in society, except that they do not presume moral certainty. What makes Kiefer’s work so convincing . . . is precisely its ambiguity and self-doubt, its rejection of easy solutions, historical amnesia, and transcendence.”—New York Times “Wordiness for Kiefer is painterliness. The library and the gallery, the book and the frame inseparable, even interchangeable, in his monumental archive of human memory. Not since Picasso’s Guernica have pictures demanded so urgently that we studiously reflect and recollect in their presence.”—Simon Schama

Notebooks, Volume 1, 1998-99 (Volume 1) (The German List)

Anselm Kiefer: Works on Paper in the Metropolitan Museum of Art

Hard cover, with dust jacket. Beautiful book fully illustrated with color plates of Kiefer's work.

ROSENTHAL, NAN

Metropolitan Museum Of Art (new York, N.y.)

Metropolitan Museum of Art

See the best price to sell, buy, or rent books by Kiefer, Anselm. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Kiefer, Anselm

See the best price to sell, buy, or rent books by Kiefer, Anselm. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Cosmos Poems

A Book by Anselm Kiefer

The Books of Anselm Kiefer, 1969-1990

Erotik im Fernen Osten Oder

The High Priestess

Notebooks, Volume 1, 1998-99 (The German List)

Notebooks, Volume 1, 1998-99 (The German List)

Anselm Kiefer in Conversation with Klaus Dermutz (The German List)

Notebooks, Volume 1, 1998-99 (Volume 1) (The German List)

Anselm Kiefer: Works on Paper in the Metropolitan Museum of Art