Leonard zoe (41 Ergebnisse)

Soft cover. Zustand: Fine. 106 pgs. Fine.

Zustand: New. *FREE DOMESTIC SHIPPING until Mnoday, Oct. 19* 300 pp., paperback, brand new, still in shrink wrap. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country. …

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

Zustand: New. In English.

Hardcover. Zustand: Brand New. 77 pages. 8.50x6.50x0.75 inches. In Stock.

Zustand: New.

Zustand: New.

Paperback. Zustand: Brand New. bilingual edition. 223 pages. 10.25x8.50x0.75 inches. In Stock.

Zustand: New. 2022. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Zustand: Brand New. 168 pages. 11.25x9.25x0.75 inches. In Stock.

Hardcover. Zustand: Brand New. 168 pages. 11.25x9.25x0.75 inches. In Stock.

Cloth. Zustand: Near Fine. Near Fine. 224 pages with color illustrations. Though still in shrink-wrap there might be small minor bumps to the corners and edges underneath the plastic. Published on the occasion of the exhibition from the Museo Nacional Centro de Arte Reina Sofía, Madrid, from May 18 - September 5, 2011. Select Biography. Book.…

Zustand: NEW.

Encuadernación de tapa dura. Zustand: Casi nuevo. 2011. Catálogo de la exposición celebrada en el MNCARS (Madrid, España) en Mayo - Septiembre de 2011. 224 pp. Numerosas reproducciones en color de las obras expuestas. Idioma: Español. LIB 11J.

Gebunden. Zustand: New. KlappentextThe bodies of work by artist Zoe Leonard that form this publications centerpiece.

296 pp.; 28 x 23.5 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Exhibition catalogue published in conjunction with show held March 14-June 1, 1999. Exhibition curated by, edited by, and with an essay by Kynaston McShine. Texts by artists and Lilian Tone, Birgit Pelzer, Brian Wallis, Susan Stewart, Magdalena Dabrowski, Ecke Bonk, Jodi Hauptman, Kristen Erickson, Coosje van Bruggen, James Trainor, Thomas McEvilley, Sally Yard, Thomas Kellein, James Roberts, Kitty Scott, Kate Linker, Dave Hickey. Extensive illustrations, artist's biographies, bibliography. Artists within exhibition: Vito Acconci, Eve Arnold, Art & Language, Michael Asher, Lothar Baumgarten, Barbara Bloom, Christian Boltanski, Marcel Broodthaers, Daniel Buren, Sophie Calle, Janet Cardiff, Henri Cartier-Bresson, Christo, Joseph Cornell, Jan Dibbets, Lutz Dille, Mark Dion, Herbert Distel, Marcel Duchamp, Kate Ericson and Mel Ziegler, Elliot Erwitt, Roger Fenton, Robert Filliou, Larry Fink, Fluxus, Gunther Forg, Andrea Fraser, General Idea, Hans Haacke, Richard Hamilton, Susan Hiller, Candida Höfer, Komar and Melamid, Louise Lawler, J.B. Gustave Le Gray, Jac Leirner, Zoe Leonard, Sherrie Levine, El Lissitzky, Allan McCollum, Christian Milovanoff, Vik Muniz, Claes Oldenburg, Dennis Oppenheim, Charles Wilson Peale, Hubert Robert, Edward Ruscha, David Seymour, Robert Smithson, Thomas Struth, Hiroshi Sugimoto, Charles Thurston, Thompson, Jeff Wall, Christopher Williams, Fred Wilson, Garry Winogrand. Endpapers of book by Daniel Buren. "Since public museums came into being in the late 18th century, artists have looked upon them with a mixture of reverence, complicity, suspicion, and disdain. In The Museum as Muse, artists of many persuasions speak their minds about museums, their functions and spaces, their practices and politics, and their relationship to the art they contain. More than 60 artists are represented by a wide range of works: photographs of museum patrons by Henri Cartier-Bresson and Elliot Erwitt; 'personal museums' and 'cabinets of curiosities' by Charles Wilson Peale, Marcel Duchamp, and Claes Oldenburg; fantasies of the destruction or transformation of museums by Hubert Robert, Ed Ruscha, and Christo and more, including works created especially for this project by contemporary artists, and an anthology of statements and writings by artists about museums. This volume was published to accompany an exhibition at The Museum of Modern Art, New York." -- publisher's statement. Very Good. Light wear to dust-jacket including a 6 mm. tear to spine edge and bumping of upper edge of recto. Light yellowing of page edges. Contents otherwise clean and unmarked.…

Zustand: Fine. First edition hard back binding in publisher's original black matt paper illustrated boards. Quarto. 10'' x 8''. Contains 128 printed pages with over 200 colour illustrations throughout. In Fine condition, no dust wrapper as issued. Member of the P.B.F.A. ISBN 9780956394002 INTERIOR DESIGN.…

Hardcover. Zustand: Like New. Immediate dispatch from Somerset. Book in excellent unread/unused condition. See images. Fantastic book. About the book >.>.> In recent years, one of the challenges undertaken by the Museo Reina Sofia has been to problematize some of the labels that have been assigned to artists and their practices throughout the twentieth century. Pigeonholes such as Outsider Art, Art Brut, or Naive Art serve to categorize artistic proposals yet pay little or no attention to their profound complexity. The Museo Reina Sofia is taking steps to eliminate boundaries such as the sepa- ration between what we call the "fine" arts and popular artistic practices. It is essen- tial to contribute to an art history that is not presented from a dominant position. Much has been written about artists such as James Castle, who have been marginal- ized within the traditional art historical discourse. Art historians have frequently assumed that self-taught artists lack commitment to their production and suffer from a lack of self-awareness. Castle was an artist with no academic training, he was profoundly deaf and never learned to read or write or to use sign language. Recent publications have focused more.…

Taschenbuch. Zustand: Neu. Neuware - Christopher Wool präsentierte See Stop Run erstmals 2024 im 19. Stock eines leerstehenden Hochhauses im Finanzviertel von Manhattan. Die von Anne Pontegnie kuratierte Ausstellung zeigte 75 Werke inmitten roher Architektur mit Blick auf die umgebende Stadtlandschaft und zog in viereinhalb Monaten 12.500 Besucher an. Das vorliegende Künstlerbuch vermittelt durch knapp 300 Fotos von Instagram-Nutzern, Freunden und Künstlerkolleginnen (darunter Zoe Leonard, Rita Ackermann, Stuart Comer, Richard Hell) die Sicht der Betrachtenden auf die Installation. So bietet das Buch eine fotografische Erkundung der Schau und reflektiert darüber hinaus, wie zeitgenössische Kunstausstellungen dokumentiert und reproduziert werden. Abgerundet wird es durch ein ausführliches Gespräch zwischen dem Künstler und Pontegnie über die Ausstellung und Wools drei Jahrzehnte andauernde Beschäftigung mit Fotografie und Installation.…

Zustand: New. Zustand des Schutzumschlags: Nuevo.

Hardback. Zustand: Very good. 25 x 31cm 264pp very good hardback in dust jacket. Zoe Leonard is an American artist who works primarily with photography and sculpture. Leonard's predominantly black-and-white photographs are like a blurred cartography of the human condition. Her idiosyncratic gaze finds photographs that are subversive in their questioning, casual in their approach, incisive in what they reveal; they are photographs that are cast aside and later reprised until the point at which the form of the photographic image is resolved. In other words, until the view, the subject matter and the theme are combined in their entirety, until they are almost melded together.…

Hardcover. Zustand: Gut. 1. Auflage. Die Buchecken sind etwas stärker bestossen und die Seiten haben an der oberen Buchecke durchgehend eine leichte Knickstelle, ansonsten aber richtig guter Zustand b32.

Taschenbuch. Zustand: Neu. Neuware -Christopher Wool präsentierte See Stop Run erstmals 2024 im 19. Stock eines leerstehenden Hochhauses im Finanzviertel von Manhattan. Die von Anne Pontegnie kuratierte Ausstellung zeigte 75 Werke inmitten roher Architektur mit Blick auf die umgebende Stadtlandschaft und zog in viereinhalb Monaten 12.500 Besucher an. Das vorliegende Künstlerbuch vermittelt durch knapp 300 Fotos von Instagram-Nutzern, Freunden und Künstlerkolleginnen (darunter Zoe Leonard, Rita Ackermann, Stuart Comer, Richard Hell) die Sicht der Betrachtenden auf die Installation. So bietet das Buch eine fotografische Erkundung der Schau und reflektiert darüber hinaus, wie zeitgenössische Kunstausstellungen dokumentiert und reproduziert werden. Abgerundet wird es durch ein ausführliches Gespräch zwischen dem Künstler und Pontegnie über die Ausstellung und Wools drei Jahrzehnte andauernde Beschäftigung mit Fotografie und Installation.Holzwarth Publications, Motzstraße 30, 10777 Berlin 400 pp. Englisch.…

Encuadernación de tapa blanda. Zustand: Como Nuevo. Zustand des Schutzumschlags: Como Nuevo. You might call it poetic justice of sorts: while the last issue of Parkett featured three male artists, this issue features the collaboration of three women, in their early thirties to late forties: Tomma Abts, Zoe Leonard, and Mai-Thu Perret. The work of the three artists covers a spectrum that ranges from the evocation of art history to the manifestation of independence. Working with reflections, fictional set pieces and playful analyses, Perret explores and exposes the pathos of (past, present, and future) revolution. Mai-Thu Perret's installationthe figure on our cover page is part of itis titled "And Every Woman Will Be a Walking Synthesis of the Universe." The notion of becoming gracefully involved, of spreading out in the infinite laws that surround us, is nurtured by the fictional universe of objects and writings the artist has created over the past decade and brought together under the heading of THE CRYSTAL FRONTIER. The texts are "fragments ostensibly written by members of an autonomous women's community formed in the deserts of New Mexico," knowingly obscuring the authorship of the works Perret presents. What we hear, playfully tossed into the circle (of art), are many different subjective voices of potential women, expressing themselves in a variety of media. Moving on from such fictional evocations and evocative fictions to the art of Tomma Abts and Zoe Leonard, we encounter another subjective gaze, one that turns in on itself and ultimately takes the physical shape of a painted or photographed rectangle. Zoe Leonard is a photographer and collector of daily life with all its unspectacular signs and traces. Simplicity, sensuality, and serenity inform her photographs, the impact of which can be fully appreciated only in the originals; the black-and-white photography in particular is not beholden to any aesthetic "school" but rather incorporates discrete and elementary reference to the machina of process and production into the pictures themselves. Soft and hard collide in surrealistimages of trees that have literally devoured the fences that might have been a threat to their growth (see inside cover). Zoe Leonard's work in groups and series embraces wide-ranging variations. The contributors to this issue largely discuss works of recent and very recent vintage, which have, however, evolved over a period of many years, as in ONE HUNDRED DOLLARS (20002008), ANALOGUE (19982007), and YOU SEE I AM HERE AFTER ALL (2008). The latter consisting of over 4000 old postcards of Niagara Falls, arranged in the form of a map. Lynne Cooke writes that "Moving through the gallery thus corresponds, at least hypothetically, to a tour of the actual Falls". She also follows the trail that goes back to 1857 and the powerful painting Frederic Church made of this natural miracle. The display of Tomma Abts' work is also precisely predetermined. All identical in format, her paintings are the outcome of a protracted painting process, containing a multitude of carefully applied coats of paint, confounding facile criteria and categories of comparison. Jan Verwoert talks with almost breathtaking intimacy about the variety of inner decisions that are (or might have been) made in the course of the painting process. He comes to the conclusion that the "gesture of deciding now tends to resemble doubting" in contrast to the heroic connotations of avant-garde decision making. In his contribution to BALKON Philip Ursprung similarly encourages us to penetrate the mind. He confronts us with an astonishingly new take on the concept of "formalism" in his discussion of Barbara Maria Stafford's recent inquiry into neuroscientific findings and their relevance for art historians. The insert is designed by John Stezaker. Table of Content Richard Hawkins: Infinitely Desired by Philipp Kaiser Tomma Abts The Best-Laid Plans: On Accidentally Not Reading Tomma Abts by Suzanne Hudson Some Similarities by Tom.…

Zustand: leido. 1ª ed., 1ª imp. edición. cart sin sobrec. 296.

Zustand: leido. 1ª ed., 1ª imp. edición. cart cons obrec. 296.

Hardcover. Zustand: gut. 2010. Arik Levy, Osmosis. Swarovski Crystal Palace In englischer Sprache. pages.

Hardcover. Zustand: gut. 2008. Ambivalent Americanizations Popular and Consumer Culture in Central and Eastern Europe In deutscher Sprache. pages.

Hardcover. Zustand: gut. 2007. Zoe Leonard - Photographs : Katalogbuch zur gleichnamigen Ausstellung im Fotomuseum Winterthur vom 1. Dezember 2007 bis 17. Februar 2008 und im Museum Moderner Kunst Stiftung Ludwig in Wien vom 10. Dezember 2009 bis 3. März 2010 In deutscher Sprache. pages.

hardcover. Zustand: Very Good.