stark joachim (93 résultats)

Hardcover. Etat : Très bon. Ancien livre de bibliothèque. Salissures sur la tranche. Edition 2001. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Stains on the edge. Edition 2001. Ammareal gives back up to 15% of this item's net price to charity organizations.

ISBN 978-3-441-00145-4 488 S 26,5x19,5cm, illustr. Oppd, zahlr. SW- und Farbfotos sowie Abbildungen im Text, wenige Textmarkierungen, leichte Gbrauchsspurnen.

Etat : New.

Softcover. 1. Auflage. 128 S. + 1 CD-ROM Guter Zustand. Die Leseseiten sind sauber und ohne Markierungen. Leichte Lager- und Gebrauchsspuren. Ausgeschiedenes Bibliotheksexemplar mit entsprechender Kennzeichnung. Ansonsten ordentliches Exemplar. 9783808553916 Sprache: Deutsch Gewicht in Gramm: 260.

Etat : New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

8° , Softcover/Paperback. Etat : Gut. 3. überarbeitete Auflage,. 580 Seiten, Einband mit leichten Gebrauchsspuren, innen in Ordnung, Zustand gut Sprache: Deutsch Gewicht in Gramm: 900.

Etat : New.

Broschiert. Etat : Gut. 337 S. ; Der Erhaltungszustand des hier angebotenen Werks ist trotz seiner Bibliotheksnutzung sehr sauber. Es befindet sich neben dem Rückenschild lediglich ein Bibliotheksstempel im Buch; ordnungsgemäß entwidmet. Sprache: Deutsch Gewicht in Gramm: 500.

Etat : New.

Etat : New.

Etat : New.

Hardback. Etat : New. 1.

Etat : As New. Unread book in perfect condition.

paperback. Etat : Good. exlibrary book rebound to a hardcover, usual library markings and stickers, light wear to cover and pages;

337 S. Originalbroschur. Geringe Gebrauchsspuren. Auf Grund der EPR-Regelung können wir in folgende Länder NICHT mehr liefern: Bulgarien, Dänemark, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

Etat : New. In.

Paperback. Etat : New.

hardcover. Etat : New. In shrink wrap. Looks like an interesting title!

paperbound, 8vo 297 pp. nearfine condition (unused).

Etat : Poor. Volume 432. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In poor condition, suitable as a reading copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,750grams, ISBN:086054558X.

Taschenbuch. Etat : Neu. Neuware -Essay from the year 2006 in the subject Art - Installation / Action/Performance Art / Modern Art, grade: good, The Open University (Department of Art History), course: Themes and issues in Contemporary Art History, language: English, abstract: This essay tries to point out that Christo and Jeanne-Claude¿s work deals with concepts of identity, gender and the performative, ideas which inform a great deal of the art that has been produced since the 1960s. These aspects in the work of the two artists have generally been overlooked due perhaps to the giganticism of many of their projects realized since the end of the 1960s, like ¿Wrapped Coast¿ (1968/69, Australia), ¿Valley Curtain¿ (1970/72 USA), ¿Surrounded Islands¿ (1980-83 USA), ¿Pont Neuf Wrapped¿ (1975/85, France), ¿Wrapped Reichstag¿ (1971-1995 Germany), or ¿The Gates¿ (2005 USA). Questions of identity, gender, and performance have not really been adressed in interpretations of Chisto and Jeanne-Claude's work. But at least since 2002 there are statements by Christo himself, which make clear that identity and gender have indeed been on his mind and that there also was quite early a link to Dada and Surrealism. In this respect it is certainly relevant that in 1963 Christo met Marcel Duchamp, who until 1968, the year of Duchamp¿s death, remained a friend and supporter. Christo's wrappings imply the blurring of identities, they transform male forms into feminine forms, or even try to introduce the impression of the formless, a concept developed by George Bataille. The performative points in the same direction. The concept of performance will have to be modified and enlarged in the case of Christo and Jeanne-Claude, as ther performances are not bound to a specific time and location, for instance in a gallery or a theatre. The performances often extend over several years or even decades and imply the presence of the artists at numerous different locations. Here the aspect of politics comes into view. As their environmental installations involve public buildings and /or public spaces and often extend over huge distances , a considerable number of different interests (for instance those of the political authorities, private landowners, pressure groups, the media) have to be taken into account. Thus, political processes serve the aim of realizing a work of art, and not the other way round.Books on Demand GmbH, Überseering 33, 22297 Hamburg 28 pp. Englisch.

Taschenbuch. Etat : Neu. Druck auf Anfrage Neuware - Printed after ordering - Essay from the year 2006 in the subject Art - Installation / Action/Performance Art / Modern Art, grade: good, The Open University (Department of Art History), course: Themes and issues in Contemporary Art History, language: English, abstract: This essay tries to point out that Christo and Jeanne-Claude's work deals with concepts of identity, gender and the performative, ideas which inform a great deal of the art that has been produced since the 1960s. These aspects in the work of the two artists have generally been overlooked due perhaps to the giganticism of many of their projects realized since the end of the 1960s, like 'Wrapped Coast' (1968/69, Australia), 'Valley Curtain' (1970/72 USA), 'Surrounded Islands' (1980-83 USA), 'Pont Neuf Wrapped' (1975/85, France), 'Wrapped Reichstag' (1971-1995 Germany), or 'The Gates' (2005 USA). Questions of identity, gender, and performance have not really been adressed in interpretations of Chisto and Jeanne-Claude's work. But at least since 2002 there are statements by Christo himself, which make clear that identity and gender have indeed been on his mind and that there also was quite early a link to Dada and Surrealism. In this respect it is certainly relevant that in 1963 Christo met Marcel Duchamp, who until 1968, the year of Duchamp's death, remained a friend and supporter. Christo's wrappings imply the blurring of identities, they transform male forms into feminine forms, or even try to introduce the impression of the formless, a concept developed by George Bataille. The performative points in the same direction. The concept of performance will have to be modified and enlarged in the case of Christo and Jeanne-Claude, as ther performances are not bound to a specific time and location, for instance in a gallery or a theatre. The performances often extend over several years or even decades and imply the presence of the artists at numerous different locations. Here the aspect of politics comes into view. As their environmental installations involve public buildings and /or public spaces and often extend over huge distances , a considerable number of different interests (for instance those of the political authorities, private landowners, pressure groups, the media) have to be taken into account. Thus, political processes serve the aim of realizing a work of art, and not the other way round.

Etat : As New. Unread book in perfect condition.

Etat : New.

Softcover. 337 S. Ehem. Bibliotheksexemplar mit Signatur und Stempel. Guter Zustand, ein paar Gebrauchsspuren. Ex-library with stamp and library-signature on spine. Good condition, some traces of use. div9670 3810010847 Sprache: Deutsch Gewicht in Gramm: 500.

Paperback. Etat : Brand New. 396 pages. 9.30x6.20x0.90 inches. In Stock.

Etat : New. In.

Taschenbuch. Etat : Neu. Neuware -Master's Thesis from the year 2008 in the subject Art - Sculpture / Plastics, grade: distinction, The Open University (Department of Art History), language: English, abstract: This research project wants to assess to what extent Louise Bourgeois is employing Surrealist practices in her work. Another question is in what way Bourgeois criticized the practices of historical Surrealism and how she has developed these practices further in order to adapt them to new subject matter, for instance feminist themes.Chapter I tries to elucidate, how art historians and art critics since the 1980s referred to Surrealism when interpreting Bourgeois¿ work. It is possible to show that Bourgeois used the concept of the ¿Surrealist object¿ for her installations. However, she did this in a way in which the female body is only present by implication. The erotic dimension, which was of great importance for the Surrealists, is destroyed by allusions to old age and death. Bourgeois¿ installations of the 1990s can therefore be considered as a radical and feminist reuse of the surrealist object.Chapter II looks at works which imply allusions to the unconscious and psycho-analysis, like the installations Arch of Hysteria (1992/3) and Precious Liquids (1992). Here I also take into account Bourgeois¿ own comments on her work. Although artist¿s comments do not represent a definitive interpretation of a work of art, this aspect seems justified as Bourgeois claims that her art is the result of her direct access to her unconscious. At least according to Freud this direct access is impossible, the unconscious being something impenetrable, which communicates with the conscious only by signs. However, in her installations Bourgeois consistently makes allusions to the erotic and desire, but she also shows their reverse side: fear, pain, violence, voyeurism, ephemerality, and the ambiguities of male and female identity.Chapter III looks at the overall social context of the 1960s and 1970s, to which Bourgeois responded with her art, for instance by supporting the Women¿s Liberation movement. It seems likely that the story of her personal traumatic experiences as a young girl in France was motivated so late in life by changes in the art world, where Modernism had lost its impact and where art again should deal with content and the biographical.Conclusion: Louise Bourgeois uses the aspects of emancipation and critique inherent in historical Surrealism, in order to criticize the patriarchal aspects of Surrealism. At the same time she develops Surrealist practices further in order to deal with new subject matter, like feminism, the body, and emotional violence.BoD - Books on Demand, In de Tarpen 42, 22848 Norderstedt 68 pp. Englisch.

Taschenbuch. Etat : Neu. Druck auf Anfrage Neuware - Printed after ordering - Master's Thesis from the year 2008 in the subject Art - Sculpture / Plastics, grade: distinction, The Open University (Department of Art History), language: English, abstract: This research project wants to assess to what extent Louise Bourgeois is employing Surrealist practices in her work. Another question is in what way Bourgeois criticized the practices of historical Surrealism and how she has developed these practices further in order to adapt them to new subject matter, for instance feminist themes.Chapter I tries to elucidate, how art historians and art critics since the 1980s referred to Surrealism when interpreting Bourgeois' work. It is possible to show that Bourgeois used the concept of the 'Surrealist object' for her installations. However, she did this in a way in which the female body is only present by implication. The erotic dimension, which was of great importance for the Surrealists, is destroyed by allusions to old age and death. Bourgeois' installations of the 1990s can therefore be considered as a radical and feminist reuse of the surrealist object.Chapter II looks at works which imply allusions to the unconscious and psycho-analysis, like the installations Arch of Hysteria (1992/3) and Precious Liquids (1992). Here I also take into account Bourgeois' own comments on her work. Although artist's comments do not represent a definitive interpretation of a work of art, this aspect seems justified as Bourgeois claims that her art is the result of her direct access to her unconscious. At least according to Freud this direct access is impossible, the unconscious being something impenetrable, which communicates with the conscious only by signs. However, in her installations Bourgeois consistently makes allusions to the erotic and desire, but she also shows their reverse side: fear, pain, violence, voyeurism, ephemerality, and the ambiguities of male and female identity.Chapter III looks at the overall social context of the 1960s and 1970s, to which Bourgeois responded with her art, for instance by supporting the Women's Liberation movement. It seems likely that the story of her personal traumatic experiences as a young girl in France was motivated so late in life by changes in the art world, where Modernism had lost its impact and where art again should deal with content and the biographical.Conclusion: Louise Bourgeois uses the aspects of emancipation and critique inherent in historical Surrealism, in order to criticize the patriarchal aspects of Surrealism. At the same time she develops Surrealist practices further in order to deal with new subject matter, like feminism, the body, and emotional violence.

Gebunden. Etat : New. The first book to provide a rigorous mathematical analysis of JavaThe origin of this book goes back to the Dagstuhl seminar on Logic for System Engineering, organized during the first week of March 1997 by S. Jiihnichen, J. Loeckx, and M. Wirsing. Durin.