simon starling (85 Ergebnisse)

Hardcover. Zustand: Very Good. 1st Edition. Hardcover, no dj (as issued). 55 pgs. 9" x 6.5". Published to accompany a touring exhibition at the Camden Arts Centre November 10, 2000 - January 14, 2001 and at the John Hansard Gallery March 27 - May 12, 2001. Very light corner wear, else fine.

HARDCOVER. Zustand: As New. Hardcover edition. as new, small quarto green cloth hardcover, original shrink-wrapped.

Zustand: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9781900470155.

Zustand: Good. 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.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,400grams, ISBN:0954202600.

Softcover. 140 pages. Exhibition catalog for a show that ran June 7 through November 2, 2014. Foreword by Madeleine Grynsztejn. Essays by Dieter Roelstraete, Janine Mileaf, and Mark Godfrey. Includes numerous illustrations. A very fine copy in wrappers. An as new copy and still in the publisher's shrinkwrap.

Zustand: Used - Very Good. VG hardback. Bilingual. 2016 1st edition to accompany an exhibition; numeropus colour illustrations; tightly bound in green cloth with white lettering to front and spine; a very clean, tidy copy - almost as new. Used - Very Good. VG hardback.

Paperback. Zustand: Very Good. Zustand des Schutzumschlags: None. Minor shelf wear; bottom corner of rear wrap creased. Else a bright, clean copy. When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals. Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the São Paulo Biennial (2005). Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling's work, examining circularity and serendipity and the their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord's Focu.

Paperback. Zustand: Very Good. Zustand des Schutzumschlags: None. Minor shelf wear; light crimping at corners of wraps. Else a bright, clean copy. When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals. Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the São Paulo Biennial (2005). Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling's work, examining circularity and serendipity and the their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord's Focu.

Paperback. Zustand: Fine. Small Qto., 60 pages, colour illustrated. A Fine copy.

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

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

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

Zustand: NEW.

8vo. pp 108, [3]. Pictorial soft covers lettered in black. Illustrated throughout in full colour. Published on the occasion of the exhibition at CAC Málaga and Tate St Ives in 2011. Text in Spanish and English.ISBN: 9788496159914 Near fine.

Broschiert. Zustand: Gut. 31 S. Guter Zustand. Mit zahlr. Abb. Deutsch/Englisch. Sprache: Deutsch Gewicht in Gramm: 220.

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

Soft cover. Zustand: Fine. 1st Edition. First edition, first printing. Soft cover. Photographically illustrated wrappers; no dust jacket as issued. Drawings and installations by Simon Starling. Essay by Katrina M. Brown. Includes a biography, exhibition history and a bibliography. Unpaginated, with 17 four-color plates and numerous additional illustrations. 7-3/4 x 9-5/8 inches. Published on the occasion of an exhibition at Dundee Contemporary Arts. Fine.

Hardcover. Zustand: Brand New. bilingual edition. 134 pages. 10.75x8.50x1.00 inches. In Stock.

Zustand: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.

Zustand: New. pp. 160 Illus. (Col.).

Zustand: New. 2012. Paperback. First comprehensive monograph on the Turner-Prize-winning artist. Series: Contemporary Artists Series. Num Pages: 160 pages, 180 colour. BIC Classification: ACXJ5; AGB. Category: (G) General (US: Trade). Dimension: 291 x 252 x 17. Weight in Grams: 1034. . . . . . Books ship from the US and Ireland.

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

First Edition. First edition. Oblong softcover. Exhibition catalog for a show that ran December 13, 2008 through October 31, 2009. Features texts by Anthony W. Lee, Susan Cross, and an afterword by Joseph C. Thompson. Includes numerous illustrations, list of previous exhibitions, and a selected bibliography. A clean very near fine copy in die-cut wrappers.

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,250grams, ISBN:9780955858390.

Zustand: New. In.

Hardcover. Zustand: Brand New. bilingual edition. 134 pages. 10.75x8.50x1.00 inches. In Stock.

Paperback. Zustand: Fine in near fine Slipcase. First Edition. 15 x 23cm paperback, buff-coloured wraps, 2 volumes in a card slipcase. One volume unpaginated, one 64pp. A catalogue published to accompany the exhibitions: 'Simon Starling Carbon (Pedersen) Stadiische Ausstellungshalle Am Hawerkamp, Munster' and 'Notes on the Buildings of Mr. Naujok and Mr. Jeanneret, Villa Arson, Nice'. One volume packed with full page colour images, the other almost entirely text in German, French and English.

Paperback. Zustand: Very Good. No Jacket. Minor shelf and handling wear, overall a clean solid copy with minimal signs of use. In Speculum (1 of 1,000 copies) 2013. Secure packaging for safe delivery.