Tiampo ming (90 résultats)

Etat : New.

Paperback. Etat : New.

Paperback or Softback. Etat : New. Thinking Collectives / Collective Thinking. Book.

Etat : As New. Unread book in perfect condition.

Paperback. Etat : New.

Etat : New.

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

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

Paperback. Etat : Brand New. 132 pages. 5.00x0.28x7.00 inches. In Stock.

Etat : New.

Etat : As New. Unread book in perfect condition.

Etat : very_good. Book is in very good condition and may include minimal underlining highlighting. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Etat : As New. Unread book in perfect condition.

Etat : good. Fast Free Shipping â" Good condition. It may show normal signs of use, such as light writing, highlighting, or library markings, but all pages are intact and the book is fully readable. A solid, complete copy that's ready to enjoy.

Etat : New.

Hardback. Etat : New. Bilingual. "[I] reject[ed] the idea that painting is autonomous, contained only within its four corners. I realized that painting has to interact with, and is always affected by, the space it is in." - Jinny Yu JINNY YU: AT ONCE surveys artist Jinny Yu's last decade of production, from her exhibition at the Venice Biennale Don't They Ever Stop Migrating? to Inextricably Ours, her recent kaleidoscopically abstract paintings. Using methods as diverse as abstract painting and large-scale installation, Yu's art ponders the implications of mass migration and rapid social change in contemporary society. In Perpetual Guest, Yu interrogates her status as a settler-immigrant; in Hôte, she navigates the relationship between guest and host through a series of black-and-white abstract drawings that resemble thresholds; in Inextricably Ours, Yu breaks from her previous work, using vivid colours, transparency, and distorted forms to continue to question what it means to be a guest and a host. Jinny Yu's work explores the role of painting as a means of trying to understand the world around us. Born in Seoul, Yu now lives and works in Ottawa on the traditional unceded territory of the Anishinaabe Algonquin Nation, and in Berlin. Yu's work has been shown widely in exhibitions in Canada, Germany, Italy, Japan, Portugal, South Korea, the UK, and the US. Her exhibition, Don't They Ever Stop Migrating?, was presented at the 56th Venice Biennale.«J'ai rejeté l'idée que la peinture est autonome, c'est à dire qu'elle soit contenue uniquement dans ses quatre coins. J'ai réalisé que la peinture doit interagir avec et est toujours influencée par l'espace dans lequel elle se trouve.» - Jinny Yu JINNY YU : À LA FOIS explore la dernière décennie de la production de l'artiste Jinny Yu, depuis son exposition à la Biennale de Venise intitulée Don't They Ever Stop Migrating? jusqu'à Inextricably Ours, ses récentes peintures kaléidoscopiques abstraites. Utilisant des méthodes aussi diverses que la peinture abstraite et l'installation à grande échelle, l'art de Yu réfléchit aux implications de la migration de masse et aux changements sociaux rapides dans la société contemporaine. Dans Perpetual Guest, Yu interroge son statut en tant que colon-immigrant ; dans Hôte, elle explore la relation entre l'invité (guest) et l'hôte (host) à travers une série de dessins abstraits en noir et blanc évoquant des seuils ; dans Inextricably Ours, Yu rompt avec son ouvre précédente en utilisant des couleurs vives, la transparence et des formes distordues pour poursuivre son questionnement sur le sens des notions d'invité et d'hôte. Le travail de Jinny Yu émane d'une interrogation sur le médium de la peinture comme moyen de comprendre le monde qui nous entoure. Née à Séoul, Yu vit et travaille maintenant à Ottawa, sur le territoire traditionnel non cédé de la Nation Anishinabe Algonquine, et à Berlin. Les ouvres de Yu ont été largement exposées au Canada, en Allemagne, en Italie, au Japon, au Portugal, en Co.…

Hardback. Etat : New. Bilingual. "[I] reject[ed] the idea that painting is autonomous, contained only within its four corners. I realized that painting has to interact with, and is always affected by, the space it is in." - Jinny Yu JINNY YU: AT ONCE surveys artist Jinny Yu's last decade of production, from her exhibition at the Venice Biennale Don't They Ever Stop Migrating? to Inextricably Ours, her recent kaleidoscopically abstract paintings. Using methods as diverse as abstract painting and large-scale installation, Yu's art ponders the implications of mass migration and rapid social change in contemporary society. In Perpetual Guest, Yu interrogates her status as a settler-immigrant; in Hôte, she navigates the relationship between guest and host through a series of black-and-white abstract drawings that resemble thresholds; in Inextricably Ours, Yu breaks from her previous work, using vivid colours, transparency, and distorted forms to continue to question what it means to be a guest and a host. Jinny Yu's work explores the role of painting as a means of trying to understand the world around us. Born in Seoul, Yu now lives and works in Ottawa on the traditional unceded territory of the Anishinaabe Algonquin Nation, and in Berlin. Yu's work has been shown widely in exhibitions in Canada, Germany, Italy, Japan, Portugal, South Korea, the UK, and the US. Her exhibition, Don't They Ever Stop Migrating?, was presented at the 56th Venice Biennale.«J'ai rejeté l'idée que la peinture est autonome, c'est à dire qu'elle soit contenue uniquement dans ses quatre coins. J'ai réalisé que la peinture doit interagir avec et est toujours influencée par l'espace dans lequel elle se trouve.» - Jinny Yu JINNY YU : À LA FOIS explore la dernière décennie de la production de l'artiste Jinny Yu, depuis son exposition à la Biennale de Venise intitulée Don't They Ever Stop Migrating? jusqu'à Inextricably Ours, ses récentes peintures kaléidoscopiques abstraites. Utilisant des méthodes aussi diverses que la peinture abstraite et l'installation à grande échelle, l'art de Yu réfléchit aux implications de la migration de masse et aux changements sociaux rapides dans la société contemporaine. Dans Perpetual Guest, Yu interroge son statut en tant que colon-immigrant ; dans Hôte, elle explore la relation entre l'invité (guest) et l'hôte (host) à travers une série de dessins abstraits en noir et blanc évoquant des seuils ; dans Inextricably Ours, Yu rompt avec son ouvre précédente en utilisant des couleurs vives, la transparence et des formes distordues pour poursuivre son questionnement sur le sens des notions d'invité et d'hôte. Le travail de Jinny Yu émane d'une interrogation sur le médium de la peinture comme moyen de comprendre le monde qui nous entoure. Née à Séoul, Yu vit et travaille maintenant à Ottawa, sur le territoire traditionnel non cédé de la Nation Anishinabe Algonquine, et à Berlin. Les ouvres de Yu ont été largement exposées au Canada, en Allemagne, en Italie, au Japon, au Portugal, en Co.…

Hardcover. Etat : Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

Hardcover. Etat : Acceptable. HARDCOVER Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. Oversized.

Etat : New.

Taschenbuch. Etat : Neu. Neuware - Thinking Collectives/Collective Thinking delves into the dynamics of collective artistic practices, and looks in particular at histories, personal experiences, and theories in the context of global Asias. Featuring contributions from artists, curators, and activists, it focuses on the diverse contexts that shape both making and researching art. This Companion book aims to bridge historical and theoretical knowledge with first-hand experiences and serves as a resource for a worlded art history and contemporary practice.…

Etat : As New. Unread book in perfect condition.

Taschenbuch. Etat : Neu. Neuware - Worlding Global Art Histories through Teaching positions art history education as a tool for world-making and democratic engagement in a time of division. It is a vital resource for educators and students that considers global art histories not as a top-down structure, but as a dynamic and evolving process. Bringing together essays, conversations, and reflections on syllabi, the contributors consider how pedagogy cultivates critical thinking and decolonial awareness. Drawing from teaching experiences in Canada, China, Germany, Singapore, the United States, and other countries, this collection advocates for relationality and pluriversal knowledge as a way to challenge a Eurocentric canon.…

Hardcover. Etat : Near Fine. Hardcover in white boards. No dust jacket, as issued. First printing of first edition. Book is crisp and clean, with tight binding and sharp corners. A whisper of wear to boards. Published to accompany an exhibition of Norio Imai's art at the Axel Vervoordt Gallery in Antwerp in 2013. Text is in English. All pages are doubled. All plates in black and white. 4to. 144 pp. Heavy--will require additional postage if shipped outside the U. S.…

Etat : New. 2011. Paperback. Examine Gutai, Japan's best-known modern art movement, a circle of postwar artists whose avant-garde paintings, performances, and installations foreshadowed many key developments in American and European experimental art. Num Pages: 256 pages, 12 colour plates, 69 halftones, 1 map. BIC Classification: 1FPJ; ACBP; ACX. Category: (G) General (US: Trade). Dimension: 290 x 218 x 18. Weight in Grams: 894. . . . . .…

Etat : new.

Paperback. Etat : VG. Brick red and BW-photographic wraps with black, yellow and cream lettering. xiv, 231 pp. BW and some color illustrations, maps. Working with previously unpublished photographs and archival resources, Ming Tiampo considers Gutai's pioneering transnational practice, spurred on by mid-century developments in mass media and travel that made the movement's field of reception and influence global in scope. Ultimately, Tiampo offers a new conceptual model for writing a global history of art, making Gutai an important and original contribution to modern art history. -Google Books.…

Etat : New.

Paperback. Etat : new. Paperback. Gutai is the first book in English to examine Japans best-known modern art movement, a circle of postwar artists whose avant-garde paintings, performances, and installations foreshadowed many key developments in American and European experimental art.Working with previously unpublished photographs and archival resources, Ming Tiampo considers Gutais pioneering transnational practice, spurred on by mid-century developments in mass media and travel that made the movements field of reception and influence global in scope. Using these lines of transmission to claim a place for Gutai among modernist art practices while tracing the impact of Japan on art in Europe and America, Tiampo demonstrates the fundamental transnationality of modernism. Ultimately, Tiampo offers a new conceptual model for writing a global history of art, making Gutai an important and original contribution to modern art history. Examine Gutai, Japan's best-known modern art movement, a circle of postwar artists whose avant-garde paintings, performances, and installations foreshadowed many key developments in American and European experimental art. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

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