practice a r (110 résultats)

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Etat : Good. 6 Edition. 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.

Etat : Very Good. 6 Edition. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : Good. 6 Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

paperback. Etat : Very Good. Sixth. Used - Very Good.

Etat : Acceptable. paperback 100% of proceeds go to charity! Acceptable reading copy with obvious signs of use, wear, and/or cosmetic issues. Item is complete and remains readable despite notable condition issues.

paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Etat : very_good. Gently read. May have name of previous ownership, or ex-library edition. Binding tight; spine straight and smooth, with no creasing; covers clean and crisp. Minimal signs of handling or shelving. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item for full refund. Ships USPS Media Mail.

paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

paperback. Etat : Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE PAPERBACK Standard-sized.

paperback. Etat : Very Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or limited writing/highlighting. We ship orders daily and Customer Service is our top priority!

Paperback. Etat : Good. Used Texts May Have Used Book Stickers on the Cover. Used texts may NOT contain supplemental materials such as CD's, info-trac, access codes, etc. Satisfaction Guaranteed!

Etat : Good. 6 Edition. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paper Back. Etat : Good.

Etat : NEW.

Etat : New.

Paperback. Etat : New. Edited by A. R. practice (Ann Richter and Agnieszka Roguski), Introduction by A. R. practice (Ann Richter and Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from João Enxuto and Erica Love, Calla Henkel and Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format-understanding the exhibition as a fluid and diverse view. How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way--and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition--in terms of performative, spatial, visual or technological aspects--and how that view can broaden, reflect or criticize the standardized claim of exhibition views. For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the 'installation view'. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view. The medium of disp.

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

Paperback. Etat : Used; Good. Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover. Aged book. Tanned pages and age spots, however, this will not interfere with reading.

Etat : As New. Unread book in perfect condition.

Paperback. Etat : new. Paperback. Edited by A. R. practice (Ann Richter & Agnieszka Roguski), Introduction by A. R. practice (Ann Richter & Agnieszka Roguski), Texts by Melanie Buehler, Erika Landstroem, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from Joao Enxuto & Erica Love, Calla Henkel & Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Buehler, Erika Landstroem, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and formatunderstanding the exhibition as a fluid and diverse view.How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative wayand articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibitionin terms of performative, spatial, visual or technological aspectsand how that view can broaden, reflect or criticize the standardized claim of exhibition views.For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the installation view. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view.The medium of display always shapes the work, therefore the form of the book becomes the venue for a visual tension between specification and ambiguity. To underline the modification as a productive act, A. R. practice interfered with book production standards and used a special RGB-three-color printing technique instead of CMYK. RGB (red green blue) is the digital color range and refers to the online format. However, it will evoke experimental effects for this analogue format.The guiding principle is the idea of transformation through various media and formats. Thus, the featured artists represent a practice in which various media and spaces are crossed; from the virtual exhibition on the internet to the actual exhibition space to the photographic image from the exhibition. All works become independent exhibition practices and works of art.TABLE OF CONTENTEditorial (A. R. prac Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Etat : New. Edited by A. R. practice (Ann Richter and Agnieszka Roguski), Introduction by A. R. practice (Ann Richter and Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from João Enxuto and Erica Love, Calla Henkel and Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format-understanding the exhibition as a fluid and diverse view. How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way--and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition--in terms of performative, spatial, visual or technological aspects--and how that view can broaden, reflect or criticize the standardized claim of exhibition views. For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the 'installation view'. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view. The medium of disp.

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

paperback. Etat : Fine.

paperback. Etat : Very Good. Cover and edges may have some wear. Clean, unmarked copy.

Etat : NEW.