Katja fleischmann (18 résultats)

Hardback. Etat : Good. Part travelogue and part dialogue, this is the first book on the market to exclusively focus on women as subjects in street art.

Hardback. Etat : Good. Part travelogue and part dialogue, this is the first book on the market to exclusively focus on women as subjects in street art.

Etat : good. Hardcover Book.

hardcover. Etat : Very Good.

hardcover. Etat : Very Good. NEW EU 3 EURO CHARGE FOR IMPORTS IS INCLUDED IN OUR SHIPPING PRICE. ALL ITEMS ARE DISPATCHED FROM THE UK, ALL OVERSEAS ORDERS SENT BY TRACKABLE AIR MAIL. IF YOU ARE LOCATED OUTSIDE THE UK PLEASE ASK US FOR A POSTAGE QUOTE FOR MULTI VOLUME SETS BEFORE ORDERING.

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

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

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

Hard Cover. Etat : Very Good. Etat de la jaquette : None, as Issued. First Edition. 224pp, glossary, notes, nu col ills, pictorial endpapers. Pictorial boards. Near new. Examines depictions of women in street art artistically, politically and culturally across continents. Size: Square 8vo.

Hardback. Etat : New. Photos, primary sources, and historical and cultural context examine women as the frequent subject of street art Interviews with artists peel back the layers between artist and image, revealing stories about their work, its context, and its environment. The women are depicted artistically, politically, and culturally across continents. The artists featured are from the United States, Mexico, Costa Rica, Peru, Chile, France, Italy, and South Africa. From artists in LA pushing back on Hollywood's shiny perfection; to painters in Costa Rica examining the cultural links of women, myth, and nature; to women in South Africa decrying domestic violence, what links these works are their temporality and public ownership. Why do wall artists choose women as their frequent and favorite subjects? What does it say about our conceptions of gender and rebellion, protest, pride, place, and community? And how does the growing commercialization of street art affect their portrayal? Color photos and guided historical context provoke these questions and inspire further ones.…

Hardcover. Etat : New.

Etat : New.

Hardcover. Etat : Brand New. 224 pages. 9.00x9.00x0.87 inches. In Stock.

Etat : New.

Etat : New.

paperback. Etat : acceptable. Gerd Fleischmann / Katja Nortmann / Josef Peters (Hrsg.): Herbert Lange. 60 Jahre Gebrauchsgraphik. Begleitband zur Ausstellung des Bielefelder Kunstverein - Museum Waldhof. Druck Richard Dohse & Sohn, Bielefeld 1990. Broschur, Format 20 x 30 cm, 104 Seiten mit zahlreichen farbigen Abbildungen; Einband/Rücken etw. angestoßen/berieben, sonst ordentlicher Zustand.…

Etat : Gebraucht - Gut. original Heft, 32 Seiten, diverse Szenenfotos und Portraitfotos. Zustand: gut-sehr gut - oder Mit einem Hund im Zimmer begeht man keinen Selbstmord. Konzeption, Choreografie und Regie: Katja Erdmann-Rajski. Tanz: Julia Brendle, Alma Edelstein, Rachel Oldtmann, Katja Erdmann-Rajski, Valentina Tonelli, Walter Sittler, Anouk ------- Program booklet Katja Erdmann-Rajski THE BELOVED Theaterhaus Stuttgart 2011 - Original booklet, 32 pages, various scene photos and portrait photos. Condition: good to very good - or You don't commit suicide with a dog in the room. Concept, choreography, and direction: Katja Erdmann-Rajski. Dance: Julia Brendle, Alma Edelstein, Rachel Oldtmann, Katja Erdmann-Rajski, Valentina Tonelli, Walter Sittler, Anouk deu.…

Hardback. Etat : New. Photos, primary sources, and historical and cultural context examine women as the frequent subject of street art Interviews with artists peel back the layers between artist and image, revealing stories about their work, its context, and its environment. The women are depicted artistically, politically, and culturally across continents. The artists featured are from the United States, Mexico, Costa Rica, Peru, Chile, France, Italy, and South Africa. From artists in LA pushing back on Hollywood's shiny perfection; to painters in Costa Rica examining the cultural links of women, myth, and nature; to women in South Africa decrying domestic violence, what links these works are their temporality and public ownership. Why do wall artists choose women as their frequent and favorite subjects? What does it say about our conceptions of gender and rebellion, protest, pride, place, and community? And how does the growing commercialization of street art affect their portrayal? Color photos and guided historical context provoke these questions and inspire further ones.…