idea general (199 résultats)

Paperback. Etat : New. Living and working together as part of the late 1960s Toronto counterculture, AA Bronson (b. Michael Tims, 1946, Vancouver), Felix Partz (b. Ronald Gabe, 1945, Winnipeg, d. 1994), and Jorge Zontal (b. Slobodan Saia-Levy, 1944, Parma, d. 1994) formalized their collaboration in 1969 as a single entity known as General Idea. From their earliest projects like staging of The 1970 Miss General Idea Pageant to their late activist initiatives around the AIDS crisis, General Idea explored multimedia, conceptual, and performance work as a tool for engaging with common culture and its repressions. A definitive retrospective of General Idea is currently travelling from the National Gallery of Canada in Ottawa, to the Stedelijk Museum in Amsterdam, and the Gropius Bau in Berlin. An extensive exhibition of these drawings has been shown at the Drawing Center in New York and MAMCO in Geneva. Less well-known are the group's drawings, the vast majority of which have never been seen. The drawings shown in A Rare Gift of the Tropics were all produced by Jorge Zontal, who made them as a habitual practice during the group's brainstorming meetings; however, given General Idea's mandate for co-authorship (and as demonstrated by the "GI" signature affixed by Zontal shortly before his death) as well as the circumstances under which they were executed, they are considered to be collaborative. The drawings assumed a greater regularity after 1985, the year the group left Toronto, which felt increasingly isolated from the global art world, for New York. As the 1980s wore on, their early joie de vivre was tempered by the pervasive presence of AIDS. In Bronson's words, it was a period "during which we had to face and somehow incorporate the illness and death of most of our friends, as well as Jorge and Felix themselves. " Although drawn by hand, the repetition of specific motifs follows a logic that is akin to General Idea's own penchant for mass reproduction and that echo the virality of their AIDS works. In their mutability and insistent flow, the drawings are a fascinating window into General Idea's distinct artistic vision and unique notions of authorship, exposing representation's inadequacy while acknowledging its urgency.

PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Etat : new. Paperback. Living and working together as part of the late 1960s Toronto counterculture, AA Bronson (b. Michael Tims, 1946, Vancouver), Felix Partz (b. Ronald Gabe, 1945, Winnipeg, d. 1994), and Jorge Zontal (b. Slobodan Saia-Levy, 1944, Parma, d. 1994) formalized their collaboration in 1969 as a single entity known as General Idea. From their earliest projects like staging of The 1970 Miss General Idea Pageant to their late activist initiatives around the AIDS crisis, General Idea explored multimedia, conceptual, and performance work as a tool for engaging with common culture and its repressions. A definitive retrospective of General Idea is currently travelling from the National Gallery of Canada in Ottawa, to the Stedelijk Museum in Amsterdam, and the Gropius Bau in Berlin. An extensive exhibition of these drawings has been shown at the Drawing Center in New York and MAMCO in Geneva.Less well-known are the groups drawings, the vast majority of which have never been seen. The drawings shown in A Rare Gift of the Tropics were all produced by Jorge Zontal, who made them as a habitual practice during the groups brainstorming meetings; however, given General Ideas mandate for co-authorship (and as demonstrated by the GI signature affixed by Zontal shortly before his death) as well as the circumstances under which they were executed, they are considered to be collaborative. The drawings assumed a greater regularity after 1985, the year the group left Toronto, which felt increasingly isolated from the global art world, for New York. As the 1980s wore on, their early joie de vivre was tempered by the pervasive presence of AIDS. In Bronsons words, it was a period during which we had to face and somehow incorporate the illness and death of most of our friends, as well as Jorge and Felix themselves. Although drawn by hand, the repetition of specific motifs follows a logic that is akin to General Ideas own penchant for mass reproduction and that echo the virality of their AIDS works. In their mutability and insistent flow, the drawings are a fascinating window into General Ideas distinct artistic vision and unique notions of authorship, exposing representations inadequacy while acknowledging its urgency. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Etat : New. Living and working together as part of the late 1960s Toronto counterculture, AA Bronson (b. Michael Tims, 1946, Vancouver), Felix Partz (b. Ronald Gabe, 1945, Winnipeg, d. 1994), and Jorge Zontal (b. Slobodan Saia-Levy, 1944, Parma, d. 1994) formalized their collaboration in 1969 as a single entity known as General Idea. From their earliest projects like staging of The 1970 Miss General Idea Pageant to their late activist initiatives around the AIDS crisis, General Idea explored multimedia, conceptual, and performance work as a tool for engaging with common culture and its repressions. A definitive retrospective of General Idea is currently travelling from the National Gallery of Canada in Ottawa, to the Stedelijk Museum in Amsterdam, and the Gropius Bau in Berlin. An extensive exhibition of these drawings has been shown at the Drawing Center in New York and MAMCO in Geneva. Less well-known are the group's drawings, the vast majority of which have never been seen. The drawings shown in A Rare Gift of the Tropics were all produced by Jorge Zontal, who made them as a habitual practice during the group's brainstorming meetings; however, given General Idea's mandate for co-authorship (and as demonstrated by the "GI" signature affixed by Zontal shortly before his death) as well as the circumstances under which they were executed, they are considered to be collaborative. The drawings assumed a greater regularity after 1985, the year the group left Toronto, which felt increasingly isolated from the global art world, for New York. As the 1980s wore on, their early joie de vivre was tempered by the pervasive presence of AIDS. In Bronson's words, it was a period "during which we had to face and somehow incorporate the illness and death of most of our friends, as well as Jorge and Felix themselves. " Although drawn by hand, the repetition of specific motifs follows a logic that is akin to General Idea's own penchant for mass reproduction and that echo the virality of their AIDS works. In their mutability and insistent flow, the drawings are a fascinating window into General Idea's distinct artistic vision and unique notions of authorship, exposing representation's inadequacy while acknowledging its urgency.

Soft cover. Etat : Good. A good copy of the softcover edition. Previous owner's name stamped atop front cover, else the text is wholly unmarked, pristine, and the binding is bright and fresh in appearance, with no creasing to the spine. A sharp copy. [Please note: Due to the size and weight of the volume extra shipping may be required depending on the destination and speed of delivery requested. Quotations gladly provided.].

PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000.

hardcover. Etat : As New. U.S. orders are shipped from N.Y. state.

Hardcover. Etat : new. Hardcover. From its origins in the mail art movement through to its destruction of The 1984 Miss General Idea Pavillion in 1977, the Canadian collective General Idea constructed a comprehensive body of work as a performative fiction. Glamour Is Theft examines this pageantry of camp parody through the logic of its mythic system. The book reconstructs this system from statements that were dispersed and disguised within General Ideas work and writing as a whole, including the publication FILE Magazine. In General Ideas system, there is one concept: Glamour; one operation: reversibility; one technique: cut-up; one strategy: theft; one tactic: camouflage. Following the collectives strategies, the book in turn mimics the language of structuralist and semiological publications of the 1970s while also considering the influences of Roland Barthes, William Burroughs, Guy Debord, Claude Levi-Strauss and Marshall McLuhan on General Ideas work. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Softcover staple bound, 16 pages, very good condition; except small abrasion to front cover; no internal marks.

Hardcover. Etat : new. New Copy. Customer Service Guaranteed.

First Edition. First edition. Softcover. Art magazine. This issue features Mario Merz, Max Kozloff, Gilles Peress, Francesca Woodman, and others. Also includes an insert on General Idea. A very near fine copy in wrappers. As new and still largely in the publisher's shrinkwrap.

Paperback. Etat : Brand New. 20 pages. French language. 10.12x0.28x7.68 inches. In Stock.

Hardcover without dustjacket as issued; unpaginated; very good condition; except small crease to upper right corner of most pages; no internal marks. Folded brochure for show laid in. Foreign shipping may be extra.

Etat : new.

Paperback. Etat : Poor. Softcover 8vo in relatively poor condition, looking as though it spent to much time among drinks at a pool-side table, with stains to front & rear coves, last page chewed up at fore-edge (not affecting text), stains to title page and a few interior page edges. 75 pages, also subtitled Interview Issue. Scarce.

No Binding. Etat : Near Fine. First Edition. Postcard in near-fine condition, a little age-toned. Unmailed. Cards are sent in stiff mailers. Postcard.

Paperback. Etat : Fine.

Paperback. Etat : Brand New. 20 pages. French language. 10.12x0.28x7.68 inches. In Stock.

Vintage catalog for the seminal 1988 avant-garde art exhibition, held from July 8-30 at Feature Gallery, and from July 8 through September 14 at the Rezac Gallery. 7.75 x 12.5 inches. 16 leaves. Near Fine in saddle-stapled wrappers.

99 pp.; 27.9 x 21.4 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held at the Massachusetts Institute of Technology, Cambridge, Massachusetts, 1982. Edited by Antonio Muntadas and Peter D'Agostino. Artists include Sanja Ivekovic, Reese Williams, John Brumfield, Hans Haacke, David Craven, Erika Rothenberg, Kristine Stiles, Les Levine, Dan Graham, Chip Lord, Richard Kriesche, Victor Burgin, General Idea, Robert Morgan, Joan Rabascall, Hal Fischer, Catalina Parra, Jusy Malloy, and Judith Barry. Includes quotations and sources. Very Good / Fine. Light rubbing of cover edge and dusting of covers. Contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.

Hardcover. Etat : new. Hardcover. The poodle as emblem in the subversive multimedia works of the influential Canadian collectiveFounded in Toronto in 1969 by AA Bronson, Felix Partz and Jorge Zontal, General Idea implemented media critique and queer theory in paintings, posters, photographs, installations, videos, magazines and other multiples.Known for its wit, pampered presence and ornamental physique, the poodle arrived into the visual lexicon of General Idea in the early 1980s and quickly became a vehicle by which the group addressed issues ranging from sexual stereotypes to the commodification of contemporary art. However, beyond its use as an agent of subtle yet substantive political and social critique, the poodle also served as a kind of heraldic devicean emblem for the mythology of General Idea and its processes of mythmaking. Through its various incarnations of the poodle, General Idea strived for a metanarrative that skirted the boundaries between artifact and artifice; history and fantasy; truth and fiction. The poodle as emblem in the subversive multimedia works of the influential Canadian collective Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover without dustjacket as issued; 224 pages; in English; very good condition; a few scuffs to covers; no internal marks. Foreign shipping may be extra.

Softcover staple bound, 16 pages, very good condition; clean and crisp; inscribed on first page; "For Peggy, dated 1998 and signed by "AA Bronson"; no other internal marks. From the library of Peggy Gale.

Hardback. Etat : New. The poodle as emblem in the subversive multimedia works of the influential Canadian collectiveFounded in Toronto in 1969 by AA Bronson, Felix Partz and Jorge Zontal, General Idea implemented media critique and queer theory in paintings, posters, photographs, installations, videos, magazines and other multiples.Known for "its wit, pampered presence and ornamental physique," the poodle arrived into the visual lexicon of General Idea in the early 1980s and quickly became a vehicle by which the group addressed issues ranging from sexual stereotypes to the commodification of contemporary art. However, beyond its use as an agent of subtle yet substantive political and social critique, the poodle also served as a kind of heraldic device-an emblem for the mythology of General Idea and its processes of mythmaking. Through its various incarnations of the poodle, General Idea strived for a metanarrative that skirted the boundaries between artifact and artifice; history and fantasy; truth and fiction.

Postcard, 4 x 6 inches; very good condition; an unmailed copy.

Soft cover. Etat : About Fine. Exhibition catalogue of General Idea's work from 1968-1975. Clean, unmarked and square. 4to.

Etat : Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Etat : Fine.

Softcover, 104 pages, in German and English, good condition; moderate rubbing to covers; small tear to spine; light crease to lower right corner of some pages; no internal marks. Foreign shipping may be extra.

Softcover, staple-bound, 24 pages; in Japanese with illustration titles also in English; very good condition; light rubbing to covers; no internal marks.