Livre Rare Book
16 162 résultats
500194862Sans date.
500302567Hachette Sans date.
13705Bordeaux Féret & Fils, Editeurs 1962 grand in 8 (25x16,5) 1 volume broché, portrait en frontispice, XXXII et 743 pages, (Annales de la Faculté des Lettres de Bordeaux, LXXXIVe année - quatrième série. Bulletin Hispanique - Tome LXIVbis 1962), petite trace de mouillure dans le bas du dos de la couverture, sinon bel exemplaire
1951101854Köln, o. V., 1951. 31 S. 2° Folio, Softcover/Paperback
193199023o. O., o. V., 1931. 88 S. + NN. Gr.-8° Groß-Oktav, Softcover/Paperback
196073946Lahr, Verlag Ernst Kaufmann, 1960. 64 S. 8° Oktav, Hardcover/Pappeinband
199714154St. Pölten NP Buchverlag, 1997. VII + 472 S. Gr. 8° Groß-Oktav Kart.
1977500209120Famot 1977 1977.
1861GITb129Tours Imprimerie Ad Mame et Cie 1861. In-8 broché 63pp. Orné de 4 (sur 5) plans en couleurs dépliants.
199413867o. O. o. V., 1994. 94 S. Gr. 8° Groß-Oktav Brosch.
199282253Mailand, Edizioni CO. P. IN. A., 1992. 180 S. + NN. 4° Quart, Softcover/Paperback
199282255Mailand, Edizioni CO. P. IN. A., 1992. 204 S. + NN. 4° Quart, Softcover/Paperback
Equated with notions of public interaction, the term "participation" is often used very loosely, especially within the contexts of new media and innovation research. Among a recent generation of artists and designers working in new media, there is an increasing need to work across disciplines and domains in ways that enable end users to contribute content, form and structure. These artists are currently developing new parameters in creative collaboration and participation in order to meet the specific working methods and processes required by new media. <I>Participation Is Risky</I> illustrates how interesting participative practices and results are typically characterized by the "risky" confrontation between the differences of disciplines and perspectives. While their work will have no fixed form, <I>Participation Is Risky</I> proposes that artists who engage in participative practices must take the risk of abandoning their traditional roles and evolve through participatory collaboration. — Testi: Storni Cristiano, Huybrechts Liesbeth et al. pagg. 344; rileg. brossura. Editore: Valiz, Amsterdam, 2014.
A provocative history of live art traces the precedents of contemporary multi-media events to Bauhaus experimentalism and surveys the Futurists' manifesto-like events, the Dadaists' cabarets, and later "happenings" and "spectacles." — Testi: Goldberg RoseLee. F.to: 20X28; pagg. 128; BN; rileg. brossura. Editore: Harry N. Abrams, New York, 1979.
192789131Berlin, Verlag von Walter de Gruyter & Co., 1927. 485 S. 8° Oktav, Softcover/Paperback
500188240Sans date.
500280249Sans date.
195598979Sinnig, Uta-Verlag, 1955. ca. 400 S. 8° Oktav, Softcover/Paperback
197693175Bad Heilbrunn, Verlag Julius Klinkhardt, 1976. 190 S. 8° Oktav, Softcover/Paperback
192715719Leipzig Verlag von Felix Meiner, 1927. 370 S. Gr. 8° Groß-Oktav Ln.
192915717Leipzig Verlag von Felix Meiner, 1929. 370 S. Gr. 8° Groß-Oktav Ln.
90534Stuttgart, J. G. Cotta'sche Buchhandlung, o. J. Kl.-8° Klein-Oktav, Leinen
Testi: Erhard Ernst-Otto. F.to: 14x21; pagg. 94; rileg. brossura. Editore: Otto Maier Verlag, Ravensburg, 1974.
The Portikus is one of the most important alternative exhibition spaces in the world. This catalogue studies it's role in the art world, and the seminal exhibitions which have been held there. — Testi: König Kaspar, Cook Peter. F.to: 21,5x28; pagg. 336; COL e BN; rileg. rigida con sovracoperta. Editore: Portikus, Frankfurt am Main , 1997.
500262367Sans date.
