lacy suzanne (33 Ergebnisse)

Paperback. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Fair. First Edition. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Zustand: Very Good. Used book that is in excellent condition. May show signs of wear or have minor defects.

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

Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

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

Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

hardcover. Zustand: VERY GOOD. Zustand des Schutzumschlags: NONE. 1st edition, signed by Ms. Guy; Pages are clean, unmarked, and tight; cover has light shelf wear, small dents on upper edge, and a bumped lower rear corner.

Zustand: As New. Lacy, Donna (illustrator). Signed Copy . Very Good dust jacket. Signed by both authors on title page.

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

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

Paperback. Zustand: Brand New. 56 pages. German language. 4.53x0.67x7.76 inches. In Stock.

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

Soft cover. Zustand: Very Good. Softcover, 72 pgs. 9 x 8 in. Catalog for exhibition held in NYC February 4 - March 18, 1984. Overall VG, with mderate edge wear, partial crease to back cover, light toning to spine.

71 pp.; 20.3 x 22.8 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Exhibition catalogue published in conjunction with show held February 4 - March 18, 1984. Text by Marcia Tucker, Donald B. Kuspit, Lucy Lippard, and Nilda Peraza. Artists include Fred Lonidier and Allan Sekula, curated by Benjamin H.D. Buchloh; Nancy Spero and Francesc Torres curated by Suzanne Lacy; Ismael Frigerio and Alfredo Jaar curated by Kaylynn Sullivan and Hannah Wilke curated by Lowery Sims. Includes checklist of the exhibition. Good. Light rubbing of covers and bumping of corners. Stickers on recto cover. Contents clean and unmarked.

Paperback. Zustand: Fair. A readable copy of the book which may include some defects such as highlighting and notes. Cover and pages may be creased and show discolouration.

paperback. Zustand: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.

Zustand: New. 2010. Paperback. . . . . . Books ship from the US and Ireland.

Paperback. Zustand: Brand New. 377 pages. 9.00x6.25x1.25 inches. In Stock.

[8] pp.; 21.5 x 14 cm.; staple bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Brochure / program published in conjunction with a performance initiated by Suzanne Lacy outside of the Brooklyn Museum held October 19, 2013. Includes a biography of the artist and an inserted list of of project participants. Very Good. 4 mm., 2.2 cm., and 3 mm. stains to pages and a 7 cm. area of soiling to Project Participant sheet. Contents and covers otherwise clean and unmarked.

Taschenbuch. Zustand: Neu. Neuware -Suzanne Lacys partizipative Arbeiten zeigen die transformative Kraft der Kunst und ihr Potenzial, gesellschaftliche Debatten anzustoßen. Als eine der führenden Stimmen der feministischen Kunstbewegung der 1970er-Jahre entwickelte Lacy das Konzept der Social Practice - ein neues Modell, das Kunst und soziales Handeln miteinander verband. Bereits in den frühen 1970er-Jahren setzte sie sich in ihrer künstlerischen Arbeit auf bemerkenswert frühe Weise mit sexualisierter Gewalt auseinander. 1972 organisierte sie gemeinsam mit Judy Chicago, Sandra Orgel und Aviva Rahmani die Performance Ablutions, die das Thema Vergewaltigung aus der Perspektive von Frauen\* thematisierte. Besonders hervorzuheben ist Three Weeks in May, eine dreiwöchige Performance über gemeldete Vergewaltigungen in Los Angeles. Mit diesen frühen Arbeiten waren Lacy und ihre Mitstreiterinnen sowohl künstlerisch als auch gesellschaftlich Pionierinnen, indem sie geschlechtsspezifische Gewalt aus dezidiert weiblicher Perspektive zu einem öffentlichen Thema machten. In ihren Werken erhielten die Opfer eine Stimme, und die patriarchalen Ursachen dieser Gewalt wurden benannt.Diese Publikation erscheint anlässlich der Ausstellung im Museum Tinguely, die die globale Relevanz und Aktualität des Themas in den Fokus rückt. Lacy zeigt darin eine Videoinstallation, die auf ihrer partizipativen und dialogischen Performance aus dem Jahr 2015 basiert. Die Künstlerin war eingeladen worden, eine Performance zu entwickeln, mit der die im Rahmen der Kampagne Cartas de Mujeres (2011-12) gesammelten Briefe öffentlich sichtbar und gewürdigt werden konnten - ein Projekt im Kampf gegen Gewalt an Frauen. Die Performance, ein fünfaktiges Ereignis mit rund vierhundert männlich identifizierten Teilnehmenden, fand am 25. November 2015 in Quito statt, dem Internationalen Tag zur Beseitigung von Gewalt gegen Frauen.Die Publikation enthält einen wissenschaftlichen Artikel sowie ein Interview der Kuratorin Sandra Beate Reimann mit der Künstlerin.VfmK, Schwedenplatz 2/24, 1010 Wien 56 pp. Englisch, Deutsch.

Taschenbuch. Zustand: Neu. Neuware - Suzanne Lacys partizipative Arbeiten zeigen die transformative Kraft der Kunst und ihr Potenzial, gesellschaftliche Debatten anzustoßen. Als eine der führenden Stimmen der feministischen Kunstbewegung der 1970er-Jahre entwickelte Lacy das Konzept der Social Practice - ein neues Modell, das Kunst und soziales Handeln miteinander verband. Bereits in den frühen 1970er-Jahren setzte sie sich in ihrer künstlerischen Arbeit auf bemerkenswert frühe Weise mit sexualisierter Gewalt auseinander. 1972 organisierte sie gemeinsam mit Judy Chicago, Sandra Orgel und Aviva Rahmani die Performance Ablutions, die das Thema Vergewaltigung aus der Perspektive von Frauen\* thematisierte. Besonders hervorzuheben ist Three Weeks in May, eine dreiwöchige Performance über gemeldete Vergewaltigungen in Los Angeles. Mit diesen frühen Arbeiten waren Lacy und ihre Mitstreiterinnen sowohl künstlerisch als auch gesellschaftlich Pionierinnen, indem sie geschlechtsspezifische Gewalt aus dezidiert weiblicher Perspektive zu einem öffentlichen Thema machten. In ihren Werken erhielten die Opfer eine Stimme, und die patriarchalen Ursachen dieser Gewalt wurden benannt.Diese Publikation erscheint anlässlich der Ausstellung im Museum Tinguely, die die globale Relevanz und Aktualität des Themas in den Fokus rückt. Lacy zeigt darin eine Videoinstallation, die auf ihrer partizipativen und dialogischen Performance aus dem Jahr 2015 basiert. Die Künstlerin war eingeladen worden, eine Performance zu entwickeln, mit der die im Rahmen der Kampagne Cartas de Mujeres (2011-12) gesammelten Briefe öffentlich sichtbar und gewürdigt werden konnten - ein Projekt im Kampf gegen Gewalt an Frauen. Die Performance, ein fünfaktiges Ereignis mit rund vierhundert männlich identifizierten Teilnehmenden, fand am 25. November 2015 in Quito statt, dem Internationalen Tag zur Beseitigung von Gewalt gegen Frauen.Die Publikation enthält einen wissenschaftlichen Artikel sowie ein Interview der Kuratorin Sandra Beate Reimann mit der Künstlerin.

Taschenbuch. Zustand: Neu. Suzanne Lacy | By your own hand | Suzanne Lacy | Taschenbuch | 56 S. | Deutsch | 2025 | VfmK | EAN 9783991531739 | Verantwortliche Person für die EU: VFMK Verlag für moderne Kunst GmbH, Schwedenplatz 2/24, 1010 WIEN, ÖSTERREICH, hello[at]vfmk[dot]org | Anbieter: preigu.

Zustand: Neuf.

Paperback. Zustand: Brand New. 296 pages. 9.25x6.25x0.75 inches. In Stock.

17 pp. & 39 pp.; 20.5 x 26.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Double / "flip" issue of the socio-political publication, The Flue, published by avant-garde arts organization Franklin Furnace. Publication reads on one side as "Sex, Performance and the 80's" and on the other side as " L.A. London Catalog." Contents for "Sex." includes: "Quotable Sex Quotes;" "The History of Sex at Franklin Furnace," by Martha Wilson; "Interview with Carolee Schneemann," by Linda Montano; "Interview with Charles Ludlam," by Vanalyne Green; "Live Sex Acts," by Linda Burnham; "On and Behind the Screen: Notes in Progress on Visual Pleasure in Performance and Film by Micki McGee; "The Summer of the Boy: Issues in Performance," by Melvyn Freilicher; "All You Need is Junk," by Barbara Baracks; "Performances from Franklin Furnace 1981 - 1982," photos by Benita Abrams of "Charms" by Dentures Art Club (Stan Kaplan and Joan Giannecchini), "Doing the Dishes," by Susan Mogul, "Life on the Farm," by George Sand; "Artist's Page," by Richard Zigun; "Artist's Page," by Cecilia Vicuña; "Artist's Page," by Sandy De Sando; "Book Reviews;" "Fuel," by Barbara Quinn; "Editorials;" and "More Quotable Sex Quotes." Cover photo by Vanalyne Green. "L.A. London" contents include: "Introduction," by Martha Wilson; "Artists' Pages," by Rose Finn-Kelcey, Feminist Art Workers, Rose English, Linda Montano, Tina Keane, Tam Giles, Linda Nishio, Hannah O'Shea, Nina Sobel, Sally Potter, Cheri Gaulke, Carlyle Reedy, and Sonia Knox; "Interview with Susan Hiller and Suzanne Lacy," by Tony Whitfield and Lisa Liebmann "Special Artist's Page" by Leslie Labowitz and Aria Natale Starus, born Sunday, May 23, 1982. Reference : No. 334 in "The Book on Books on Artists' Books" by Arnaud Desjardin. London, England : The Everyday Press, 2011, pp. 181. Fine / Very Good. Dust soiling of verso with red scuffing from title ink. 4 mm. tear to top edge of verso. Contents clean and unmarked.

92 pp.; 27.9 x 21.6 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; 1984 issue of High Performance, The Performance Art Quarterly, edited by Linda Frye Burnham. Contents include: "Laurie Anderson Goes for the Throat," by Mark Dery; "The Why and How of Collaboration," by Susan Block; "Pat Oleszko," by Carl Heyward; "The Evolution of Obsession," by Margot Mifflin, Yayoi Kusama Interviewed on Her Psychosomatic Art; "Linda Burnham Reports;" "Performance in the '80s: The TV Generation: Lin Hixson, Molly Cleator, Tim Miller" by Jacki Apple; "Glamour as Environmental Art," by Moe Meyer; "Michael Kelley," by Kathi Norklun; "From a Whisper to a Shout: Suzanne Lacy Talks About a Network for Women's Voices," by Margot Mifflin; "The Catalist Olympics," by Lewis MacAdams; "In Dogged Pursuit of the World's Greatest Artist," by Linda Burnham; "The D.B.D. Experience," by Linda Burnham; "The White House as an Alternative Space," by Steven Durland; "A Dream of Life and Death: Jac Mote's Performance Installations," by Angelo Funicelli; "Los Angeles Music, Dance, Film & Video: 'The L.A. New Music Web (Part 1),' by Marina LaPalma, 'L.A. Also Dances,'" by Martin A. David; "Film & Video Resources," by Linda Burnham; "Portfolio: Million Dollar Flea Market," by Elaine Hindin; "Letters;" "Hot Shorts;" "SubGenius Dept.;" "Viewpoint" and "Tacit," by Steven Durland. Front Cover: Peggy Margaret and Lance Loud in "Hey John, Did You Take the El Camino Far?" Back Cover: Rachel Rosenthal in "Gaia, Mon Amour." Very Good. Light rubbing of cover edges. 3.1 cm. crease to top left corner of recto. Light bumping of corners. Contents clean and unmarked.

48 pp.; 27.6 x 21.4 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; First issue of High Performance, The Performance Art Quarterly, edited by Linda Frye Burnham. Contents include: "News;" "Spaces: Los Angeles Institute of Contemporary Art;" "Interviews: Suzanne Lacy by Richard Newton, Norma Jean DeAk by Moira Roth;" "Artist's Chronicle: Jill Scott, Barbara Smith, James Pomeroy, Paul DeMarinis, Darryl Sapien, Constancia Vokietaitis, Gina Pane, Alison Knowles, Jürgen Klauke, Paul McCarthy, Nancy Buchanan, Brian Dailey, Tony DeLap, Bradley Smith, Bob Wilhite, BDR Ensemble, Richard Turner, D. Gatlin, and Richard Newton "Hot Shorts," by C.C. Hill. Cover: Suzanne Lacy. Good / Very Good. 2.1 cm. crease to recto. 12.8 cm. crease to bottom right area of recto. Additional light handling wear with rubbing of covers and light edge wear. 1.4 cm. and 1 cm. of soiling to verso. Contents clean and unmarked.

69 pp.; 28 x 21.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Summer 1980 issue of High Performance, The Performance Art Quarterly, edited by Linda Frye Burnham. Contents include: "WCA Conference in Louisiana," by Suzanne Lacy; "Public Arts International/Free Speech," by Stephen Forsling; "Per/for/mance, American Performance Festival in Italy: Chris Burden, Laurie Anderson, Paul McCarthy, Julia Heyward, Disband, Richard Newton;" "Artist's Chronicle: John Sheridan, Julie Wallace Keller, Valerie Bechtol, Mark Bloch, Anne Mavor, Joshua Abbey, M. Staff Brandl, Roar Schaad, Ramsey Najm, The Waitresses, Richard Turner, Denise Chanel Vallon, Paul Best, Jeffrey Mark Burdett, Nancy Evans, Pam Minor, Bob Davis, Renata Petroni, Jeanne Quinn, Daniel Lerner, Darryl Turner, Barbara Margolies, Claire Fergusson, Nancy Riegelman, Rod Force;" "Cafe E*pit'o*me: Director's Notes," by Jerry Benjamin and "Incomplete Requiem for W.C. Fields," by Al Hansen. Front Cover: Per/for/mance festival posters, Florence. Back Cover: Paul McCarthy. Very Good / Fine. Light rubbing of coves and creasing of verso. Covers and contents clean and unmarked.

48 pp.; 27.3 x 21.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held September 15 - October 19, 1979. Curated and with a foreword by Nancy Buchanan. Artists include Lee Whitten, Ruth Iskin, Visual Communications, James M. Woods, Helen Mayer Harrison, Newton Harrison, Leslie Labowitz, Suzanne Lacy, Fred Lonidier, Martha Rosler, Bonnie Sherk, Allan Sekula, Judith F. Baca, and Josephine Gear. Each artist contributed an essay or artist's project to the catalogue. Includes biographies. Good. 8.3 cm. area of yellow soiling to recto. 7 mm. tear to bottom edge of recto with 7.5 cm. crease to bottom edge. Soiling on recto has bled through to first page with 1.5 cm. area. Yellowing of covers and pages.