MareMagnum
4 331 résultats
"Catálogo de la exposición celebrada en el Museo Nacional Centro de Arte Reina Sofía, octubre 2009-febrero 2010. Culminación de las prácticas experimentales de los 60 y al mismo tiempo un punto de inflexión que señala el declive de este tipo de tendencias. La exposición muestra todos los actos que tuvieron lugar durante aquellos ocho días mediante un centenar de obras de diversos formatos." Testi: Molins Patricia, Cuyas Jose Diaz. pagg. 416; COL e BN; rileg. brossura. Editore: Centro de Arte Reina Sofia, Madrid , 2010.
Madrid, Miguel de Burgos, 1816, 19,5 x 12 cm., cubiertas en papel de época con las esquinas rotas, 208 págs.
Madrid, Miguel de Burgos, 1816, 19,5 x 12 cm., cubiertas en papel de época, 208 págs. + 1 hoja de erratas.
Le livre d'artiste bénéficie du regain d'intérêt dont jouissent actuellement les avant-gardes des années soixante et soixante-dix. En lui-même, le livre d'artiste est devenu un genre spécifique et reconnu comme tel. Esthétique du livre d'artiste est une étude exhaustive des livres publiés par les artistes des avant-gardes des années soixante et soixante-dix : poésie concrète et visuelle, Fluxus, art minimal, art conceptuel... En rupture avec la tradition artisanale des " livres illustrés " de la bibliophilie, les livres d'artistes utilisent les techniques industrielles d'impression; ils ont matériellement l'aspect de publications ordinaires. À la différence des livres de bibliophilie, ils sont la création d'un artiste seul, sans la participation d'un écrivain. Plus de 300 artistes, de toutes nationalités, sont étudiés, parmi lesquels notamment Baldessari, Barry, Boltanski, Broothaers, Buren, Darboven, Filliou, Finlay, Fulton, Gerz, Gette, Kosuth, Le Gac, LeWitt, Long, Messager, Roth, Ruscha, Tremlett, Weiner. — Testi: Moeglin-Delcroix Anne. F.to: 24,5x30,5; pagg. 656; COL e BN; rileg. brossura. Editore: Jean Michel Place, Paris, 1997.
IN HEBREW. 25x16cm. 244 pages. Hardcover. Spine edges slightly bumped. Else in good condition.
‘Today, when one speaks of cinema, one implies a metamorphosis in human perception,’ writes the author of this extraordinary book. ‘Just as the term ‘man’ is coming to mean man/plant/machine, so the definition of cinema must be expanded to unclude videotronics, computer science, and atomic light.’ In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are meticulously described, including interviews with artists and technologists. Expanded Cinema is filled with provocative post-McLuhan philosophical probes into ‘The Paleocybernetic Age,’ ‘the videosphere,’ and ‘the new nostalgia,’ all in the context of what the author calls ‘the global intermedia network.’ In ‘Image-Exchange and the Post-Mass Audience Age,’ Mr. Youngblood discusses the revolutionary implications of videotape cassettes and the cable television as educational tools. His observations are placed in comprehensive perspective by an inspiring introduction written by R. Buckminster Fuller. The text is richly illustrated by 284 photographs, including 60 in full colour. Vast in scope, both philosophical and technical, Expanded Cinema will be invaluable to all who are concerned with the audio-visual extensions of man, the technologies that are reshaping the nature of human communications. — Testi: Youngblood Gene, Buckminster Fuller R.. F.to: 14,5x20; pagg. 432; 60 COL e 224 BN; rileg. rigida con sovracoperta. Editore: Studio Vista, London, 1970.
280x215 mm. 309 pages. Gilt hardcover with dust-jacket. Jacket torn. Pages yellowing. Else in good condition.
206 p., frontis. With a bibliography of {DeVoto's] writings prepared by Julius P. Barclay with the collaboration of Elaine Helmer Parnie. [Also a short introduction by Wallace Stegner]. Hardcover Very good condition good
Born in Bern, Switzerland, in 1933, Harald Szeemann was a crucial force in identifying, exhibiting, and writing about the important new movements in postwar contemporary art. This collection of seventy-four texts from the curator’s vast body of written work—which includes essays, lectures, studio notes, reviews, interviews, correspondence, and transcripts—introduces the depth of his method, insight, and inclusive artistic interests. The pieces have been translated from German and French and collected in an informed, authoritative edition, making this the first time Szeemann’s work is accessible in English. The first two sections of this volume republish Szeemann’s anthologies Museum der Obsessionen (1981) and Individuelle Mythologien (1985). The final part assembles important writings from 1986 until his death in 2005 to represent the later years of his career and round out a record of his contribution to and dialogue with later twentieth- century art and artists. The book’s publication coincides with the opening of the Getty Research Institute’s exhibition Harald Szeemann: Museum of Obsessions and complements its catalogue, as well as a contemporaneous satellite show at the Institute of Contemporary Art, Los Angeles, that focuses on Szeemann’s Grandfather exhibition (1974). — Testi: Szeemann Harald, Rigolo Pietro et al. F.to: 17x23,5; pagg. 424; 32 COL e 69 BN; rileg. brossura. Editore: Getty Trust Publications, Los Angeles, 2018.
Testi: Martegani Amedeo, Anedda Antonella et al. F.to: 15,5x21; pagg. 144; BN; rileg. brossura. Editore: A&Mbookstore Edizioni / studio permanente, Milano, 2006.
Testi: Ornano Alfredo. F.to: 12x17; pagg. 124; BN; rileg. brossura. Editore: Poligono Società Editrice, Milano, 1953.
Testi: Ornano Alfredo. F.to: 12x17; pagg. 124; BN; rileg. brossura. Editore: Poligono Società Editrice, Milano, 1950.
During the 1960s and 1970s, Amsterdam was a nexus of intense art activities, drawing artists from all over the world including Stanley Brouwn, Gilbert & George, Sol LeWitt, Charlotte Posenenske, Allen Ruppersberg, and LawrenceWeiner. Reciprocally, some of the most influential Dutch artists traveled abroad extensively before establishing themselves in Amsterdam: Jan Dibbets studied in London, while Ger van Elk and Bas Jan Ader trained in Los Angeles. As a result of this new mobility, a dynamic cross-pollination of ideas and influences took place between artists of different nationalities, and many produced works directly related to the notion of travel and the city that fostered them. In & Out of Amsterdam presents more than 120 works including works on paper, installations, photographs and films by artists who were part of this remarkable creative culture. Essays, accompanied by lively illustrations and documentary photographs, illuminate the significance of these works as well as the unprecedented role that prints, bulletins, posters, mail art, artists books and ephemera played in the artists discourse. A brief essay or interview introduces each artist, and an extensive chronology, bibliography and illustrated checklist round out this unique volume. — Testi: van den Bossche Phillip, Cherix Christophe. pagg. 170; rileg. rigida. Editore: MoMA Museum of Modern Art, New York, 2009.
Testi: De Donno Emanuele, Maffei Giorgio. pagg. ple; COL e BN; rileg. brossura. Editore: Viaindustriae/a+mbookstore edizioni, 2011.
THIS VOLUME ONLY. 275x200 mm. VI+274 pages (Pagination: 276-549). Hardcover. Cover slightly curved. Cover corners and edges slightly rubbed. Spine slightly yellowing. Sticker on spine. Few pages slightly stained - No damage to text. Pages slightly yellowing. Else in good condition.
THIS VOLUME ONLY. Contains b&w plates. 275x200 mm. II+417 pages. Hardcover. Cover slightly rubbed. Cover corners rubbed. Spine slightly yellowing. Sticker on spine. Few pages slightly wrinkled. Pages slightly yellowing. Else in good condition.
Madrid, Ministerio de Cultura, 1978, 17,5 x 11 cm., cartulina editorial, 341 págs. + 1 hoja. (Entre otras cosas contiene: Los clásicos, nuestros contemporáneos, por Manuel Ángel Conejero. Teatro clásico y público actual, por Luciano García Alonso. Actitud del público español ante en teatro clásico, por Fernando Fernán Gómez. El verso en el teatro clásico español, por José Hierro. Propuesta de un auto de fe para el teatro español del Siglo de Oro, por Agustín García Calvo. Censores morales y políticos del teatro barroco, por Francisco Nieva...).
Testi: Hoffmann Klaus. F.to: 15x20,5; pagg. 200; BN; rileg. brossura. Editore: DuMont Verlag, Köln, 1972.
Testi: Vergine Lea. COL e BN; rileg. brossura. Editore: Mazzotta, Milano, 1980.
Madrid, Ministerio de Cultura, 1988, 24 x 17 cm., rústica editorial, varias fotografías intercaladas, 169 págs. + 20 hojas de Documentos + 1 h.
Testi: Lauret Jean-Claude. pagg. 256; rileg. rigida con sovracoperta. Editore: Editions André Balland, Paris, 1970.
Testi: Kunzle David, Nizza Enzo. F.to: 19,5x26; BN; rileg. brossura. Editore: Edizioni la Pietra, Milano, 1970.
The starting point for Liner Notes is about bookmaking, Leipzig, for example, "was a series of books produced in recent years by book-makers who have studied at the Academy of Graphic Arts and Book Art. The editors Markus Dreßen, Lina Grumm, Anne Koenig and Jan Wenzel were not interested in the connection between these book-makers, not the construction of a school, but the very different approaches and attitudes that are visible in the books. What does it mean to design a book? In fictional dialogues and in conversation logs, in which bookmakers talk in detail about the development process of one of their books, "Liner Notes" investigates this question. The result is a reflection in the medium: a book made from books and whose use is to give ideas for new books. — Testi: Dressen Makus, Wenzel Jan et al. pagg. 256; rileg. brossura. Editore: Spector Books, Leipzig, 2009.
M., Taurus, 1979, 21 x 14 cm., 320 págs. - 2 h. (Textos de : Luis Cernuda, Azorín, Maeztu, Unamuno, Bergamín, Guillermo de Torre, R. Gomez de la Serna, etc).
Mérida, Patronato del Festival de Teatro Clásico, 1988, 24 x 17 cm., cartulina editorial, numerosas ilustraciones intercaladas, 263 págs.
