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4 331 résultats
Testi: Kurokawa Kisho. pagg. 208; rileg. rigida con sovracoperta. Editore: Westview Press, Boulder, 1977.
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.
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.
In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun. Still, the vision of this transformation is far from new. For more than century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over? In this book, Alessandro Ludovico re-reads the history of the avant-garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts. For more than twenty years now, he has been working at the cutting edge (and the outer fringes) of both print publishing and politically engaged digital art. — Testi: Ludovico Alessandro, Cramer Florian . F.to: 9x25; pagg. 192; BN; rileg. brossura. Editore: Onomatopee, Eindhoven, 2012.
A revealing, profusely illustrated report on the problems of our penal systems, including a special section on the schocking Attica rebellion. — Testi: Leinwald Gerald. pagg. 256; BN; rileg. brossura. Editore: Pocket Books, New York, 1972.
"Nella grande crisi dei valori e delle istituzioni come gestiscono gli operatori estetici il loro lavoro? Questa è la prima indagine sociologica sull'avanguardia italiana dal 1970 ad oggi, dal momento in cui, qui da noi, si sono messe le carte in tavola e, per la prima volta, siamo usciti dei nostri confini mentali e geografici. Tuttavia le cosiddette ultime tendenze - dall'arte povera, concettuale, alla body art - spesso hanno frainteso il loro ruolo rivoluzionario: l'accaparramento dei nuovi mezzi o l'assimilazione delle teorie scientifiche ha prodotto ugualmente delle "opere d'arte" per la fruizione e la speculazione di sempre. Perché non è cambiato nulla? A questo interrogativo tenta di rispondere questo rapporto con una carrellata critica e un certo numero di sondaggi, mentre contemporaneamente traccia le linee essenziali per una futura collocazione di questi "documenti"." — Testi: Inga Pin Luciano, Vergine Lea et al. pagg. 174; rileg. brossura. Editore: La libera umanità editrice, Milano, 1975.
24.5x18cm. 409 pages. Gilt hardcover. Rear cover slightly faded. Spine slightly faded. Spine edges slightly bumped. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Immediatamente diponibile. € 50.00 — Testi: Ohff Heinz. F.to: 15x21; pagg. 320; BN; rileg. brossura. Editore: Bertelsmann Kunstverlag, Berlin, 1971.
Testi: Pannaggi Ivo. pagg. 366; BN; rileg. brossura. Editore: La Nuova Foglio, Pollenza, 1976.
Testi: Martinetti Sara, Coelewij Leontine. F.to: 17x24; pagg. 560; 417 COL; rileg. brossura. Editore: Buchhandlung Walther König, Köln, 2016.
Jean Cocteau once called the cinema 'that temple of sex with its goddesses, its guardians and its victims'. That remark forms the theme of this three-part study by the Evening Standard film-critic of the role of sex in the cinema. Alexander Walker's goddesses include Mary Pickford, Mae West, Marlene Dietrich, Greta Garbo, Marilyn Monroe and Elizabeth Taylor. 'Why', he asks, 'was each of these so successful in projecting her sex appeal on celluloid?' His answers involve psychology, ethics, biography, film history and finance...and, of course, the 'guardians'. His guardians are simply the censors, British and American, whether as creators of taste or watch-dogs on morals. In his final section, devoted to victims, the author cites the fates of Mastroianni and Rock Hudson as evidence of the steadily falling graph of male supremacy in Italian and Hollywood sex-comedies.
Testi: Gordon Mitchell. pagg. 448; rileg. brossura. Editore: Penguin Books, New York, 1965.
Is art criticism losing ground to the Internet and its rapidly proliferating art blogs? Do people still consider the art critics employed by newspapers and magazines the most important arbitrators of what is worth seeing and reading? Much recent discussion about the changing landscape of art writing, often framed as a crisis in criticism, has revolved around the question, "what is art criticism?" <I>Spaces for Criticism</I>, edited by Pascal Gielen, asks instead, "where is art criticism?" The contributors to this volume explore new ways and new spaces where art critics might interact with works of art, artists, scholars and a varied, increasingly informed public. The authors argue that criticism has shifted to different places and different stages, experiencing both a displacement onto new media and into new geographic regions and new institutional structures. — Testi: Gielen Pascal, Sonderegger Ruth et al. pagg. ple; rileg. brossura. Editore: Valiz, Amsterdam, 2015.
Testi: Chambert Christian, Robins Corinne et al. F.to: 17x21; pagg. 408; BN; rileg. brossura. Editore: The Swedish Art Critics Association Press, Lund, 1995.
VOLUME II ONLY. IN YIDDISH WITH ENGLISH SUMMARY. 310x235 mm. XXVII+515 pages. Hardcover. Cover scratched. Cover edges worn. Cover corners worn. Spine slightly stained. Spine edges worn. Stamp on second white page. Several pages slightly age-stained. Pages yellowing. Else in good condition.
IN HEBREW. SINGLE ESSAY IN ENGLISH. 160X245 mm. 121 pages. Gilt hardcover. In good condition.
Throughout the world, the educational field is being transformed into a marketplace in which institutions must compete for students, and are called on to assess their cultural contributions in terms of finance and management. Is there any room left for art in such a system? <I>Teaching Art in the Neoliberal Realm</I> investigates the wide-scale reorganization of art education in the United States, Europe, Asia, Australia, Latin America, Russia and The Netherlands, and seeks to determine both the current impact and future ramifications of market education on the arts and the artist. Most importantly, it provides prescriptions for a positive direction forward, steering between the cynical big business of the art market and the threatened idealism of classic art education. The thematic chapters, interviews and essays adopt both practical and theoretical approaches, and include such contributors as Richard Sennett, Marco Scotini and Dieter Lesage. — Testi: Overbeek Tessa, De Bruyne Paul et al. pagg. ple; rileg. brossura. Editore: Valiz, Amsterdam, 2012.
Madrid, Ministerio de Cultura, 1980, 17,5 x 11 cm., rústica editorial, 348 págs. + 1 h.
Testi: Vaizey Marina. F.to: 19x25; pagg. 190; COL e BN; rileg. rigida con sovracoperta. Editore: Holt Rinehart Winston, New York, 1982.
134p. Paperback Very good condition
Testi: Ehrenzweig Anton. F.to: 14,5x22; COL e BN; rileg. rigida. Editore: University of California Press, Los Angeles, 1967.
23x21 cm. 123 pages. Softcover. In good condition.
Testi: Wall James T.. F.to: 14x21; pagg. 174; BN; rileg. brossura. Editore: University Press of America, Washington, 1979.
