stefan banz, beyond ground (sol lewitt), color photograph, size variable, 2014, courtesy the artist
new publications (for more information go to: publications):
stefan banz, louis michel eilshemius und sein einfluss auf marcel duchamp. mit einem vorwort von ugo rondinone, herausgegeben mit / published with verlag für moderne kunst, wien; deutsch; 288 seiten; 22 x 16,5 cm; fester einband; mit 161 abbildungen (die meisten in farbe), 35 euro, isbn 978-3-903131-12-5; (with a foreword by ugo rondinone), german; 288 pages; 8 11/16 x 6 1/2 inches; hardcover; with 161 illustrations (most of them in color), 35 euro, isbn 978-3-903131-12-5. note: this is a smaller german version (without the "collected documents," but with some new evidence) of the award winning comprehensive english publication:
stefan banz, eilshemius: peer of poet-painters – winner of the 2016 rollins book award, and of the 2016 eric hoffer book award (honorable mention in the categrory "art"). the first comprehensive publication on this eccentric american artist (with swiss and german roots) louis michel eilshemius (1864–1941), who was discovered by marcel duchamp on the occasion of the first annual exhibition of the society of independent artists at the grand central palace in new york in 1917. the book includes collected documents, a novel of facts, by and about louis m. eilshemius, and an extensive study of his influence on marcel duchamp, english, 768 pages, 479 color and 53 black an white illustrations, format 31 x 24 cm, hardcover. distribution: jrp|ringier zurich – us 100, euro 80.00, chf 98; isbn 978-3-03764-435-5.
merlin james on the book, in the burlington magazine, november 27, 2015
roberta smith on the book, in the new york times, november 27, 2015
luc debraine sur le livre, in l'hebdo (français), september 17, 2015
katharina holderegger rossier über das buch, in: kunst-bulletin (deutsch), oktober 2015
“stefan banz’s glass structure [how many nights i prayed for this] containing gymnastic apparatuses—rings, trapeze, climbing pole, ladder—was placed in a gallery hung with paintings by georg baselitz. through the glass, one saw an array of colorful upside-down figures. one could not help but fuse the upended figures with the gymnasium, and read them as children, as colorful as birds, hanging by their knees from the gym equipment, providing a raucous supplement to the rather chaste and even uninteresting sculpture—and providing that young swiss art can elicit fresh meanings as much from non-swiss art as from the swiss art of an earlier time.” arthur c. danto, in „an unrestricted view of the mediterranean,” artforum international, october 1998, pp. 118–19, p. 119.