tokyo watari um (17 Ergebnisse)

First Edition. First edition. Small hardcover. Exhibition catalog for a show that ran May 20 through August 12, 1992. Text in English and Japanese with a foreword by Shizuko Watari and a question and answer between him and Gary Hill. Includes 8 tipped in color plates. A very near fine copy in boards. No dust jacket as issued.

Hardcover/Pappeinband. Zustand: Sehr gut. unpag., ca 40 S. Very good condition. Japanese/English. With ill. Sprache: Englisch Gewicht in Gramm: 195.

Hardcover. Zustand: Sehr gut. Ohne Schutzumschlag. 1. Auflage. 135 pages with many coloured illustrations; clothbound.

softcover. Profusely illustrated (illustrator). 1st. 4to, 148 Scrape on front cover, else a very good copy.

148pp inc illustrations, plans etc, bibliog. Wraps, 30x29. Covers trifle rubbed on edges else very good copy. Chronology of the building of a museum and contemporary art centre in Tokyo by this Swiss architect. Plenty of photos, working drawings, plans etc with commentary plus chronology of Botta's buildings and projects. The best source for this major project.

128 S. Orig.-Broschur. - Sehr guter Zustand innen und außen.

Zustand: Sehr gut. Unpag. Ein gutes und sauberes Exemplar. - Text japanisch und englisch. - Q&A Gary Hill+Shizuko Watari -- LEAVES by Gary Hill -- CHANNELED SILENCE by Stephen Sarrazin - Biography. ISBN 4900398187 Sprache: Deutsch Gewicht in Gramm: 550 Mit zahlr. farb. Abb. Originalhalbleinen.

139 S. mit Fotoabbildungen. Sehr gutes Exemplar. Japanisch - und englischsprachig. Sprache: Englisch Gewicht in Gramm: 2100 4°. Orig.-Leinen mit Orig.-Umschlag.

Zustand des Schutzumschlags: dj. First Edition. First edition. Hardcover. Published in conjunction with an exhibition that ran March 18 through May 10, 1992. Text in English and Japanese with essays by Yoshiharu Fukuhara, Kotaro Sugiyama, Kotaro Iizawa, and Noriyoshi Sawamoto. Includes numerous black and white images. A fine copy in a very near fine dust jacket and with a very near fine translucent obi. A beautifully printed book.

Origi.Halbleinenband, 8°, 63 Seiten. Guter Zustand.

Soft cover. Zustand: Fine. 1st Edition. Folded stiff wrappers (softcover), 187 p. : illustrations (chiefly in color) ; 26 cm. Very good/fine, clean, crisp, no internal marks. Text in English and Japanese. Scarce. Catalogue published on the occasion of the exhibition Hungarian Constructivism Jan. 13-May 8, 1994 at WATARI-UM. Tokyo.

EA, 114 S., OPbd., ex libris, sehr gut erhalten Sprache: Englisch. Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

[82] pp.; 12.5 x 14 cm.; staple bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue / artists' book published in conjunction with show held November 23, 1997 - March 29, 1998. Includes installation images of the exhibition as installed at Documenta X, June 21 - September 28, 1997. "The ongoing 'Poetics Project' serves up a rich mix of visual and aural experiences, while inviting viewers to question the reliability of the shows as history. Artist Mike Kelley says, 'If you don't create your own history, someone else will." Kelley and Tony Oursler's the 'Poetics Project 1977-1997' is a retrospective work that draws from their collaborative efforts in painting, video, sculpture, drawing and music. Although the ostensible subject of this project is Kelley and Oursler's early experiences as performers in a loose-knit musical group called the Poetics, its broader concerns are the processes by which history is constructed, and the reciprocal relationship between the fine arts and popular culture. The conflation of past and present in the 'Poetics Project' makes it difficult at first for the viewer to penetrate the work. Video installations and taped interviews with visual artists, rock musicians and critics are intermingled with paintings, sculptures and stacks of drawings. A precise checklist and diagram prepared by Kelley and Oursler methodically pinpoint the authorship of each work, while serving as a serf-guided tour and critical record of the project. Only with this didactic help do viewers come to realize that the 'Poetics Project' is almost entirely made up of works created in 1997 and 1998, though based on what Kelley and Oursler tell us is a single notebook of sketches and a collection of audio recordings--some little more than notations for never-performed works--which date from the late 1970s and early '80s (the Poetics disbanded in 1983). Filled with irony and steeped in serf-reflexive practice, this work builds upon the radical autobiographical prose of William S. Burroughs and art works and performances by artists such as John Baldessari, Allan Kaprow and Andy Warhol. Reminiscent of Warhol's A:A Novel, which records one day in the life of the artist in 384 pages, the 'Poetics Project' is an expanding template of art works which explores how the past can be reconstructed to shed light on the present." -- Diane Shamash, Art in America, October 1998 Very Good. Two stickers, pink and white, personal library stickers wrapping around spine and onto covers. Light yellowing of pages, contents otherwise clean and unmarked.

[82] pp.; 12.5 x 14 cm.; staple bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue / artists' book published in conjunction with show held November 23, 1997 - March 29, 1998. Includes installation images of the exhibition as installed at Documenta X, June 21 - September 28, 1997. "The ongoing 'Poetics Project' serves up a rich mix of visual and aural experiences, while inviting viewers to question the reliability of the shows as history. Artist Mike Kelley says, 'If you don't create your own history, someone else will." Kelley and Tony Oursler's the 'Poetics Project 1977-1997' is a retrospective work that draws from their collaborative efforts in painting, video, sculpture, drawing and music. Although the ostensible subject of this project is Kelley and Oursler's early experiences as performers in a loose-knit musical group called the Poetics, its broader concerns are the processes by which history is constructed, and the reciprocal relationship between the fine arts and popular culture. The conflation of past and present in the 'Poetics Project' makes it difficult at first for the viewer to penetrate the work. Video installations and taped interviews with visual artists, rock musicians and critics are intermingled with paintings, sculptures and stacks of drawings. A precise checklist and diagram prepared by Kelley and Oursler methodically pinpoint the authorship of each work, while serving as a serf-guided tour and critical record of the project. Only with this didactic help do viewers come to realize that the 'Poetics Project' is almost entirely made up of works created in 1997 and 1998, though based on what Kelley and Oursler tell us is a single notebook of sketches and a collection of audio recordings--some little more than notations for never-performed works--which date from the late 1970s and early '80s (the Poetics disbanded in 1983). Filled with irony and steeped in serf-reflexive practice, this work builds upon the radical autobiographical prose of William S. Burroughs and art works and performances by artists such as John Baldessari, Allan Kaprow and Andy Warhol. Reminiscent of Warhol's A:A Novel, which records one day in the life of the artist in 384 pages, the 'Poetics Project' is an expanding template of art works which explores how the past can be reconstructed to shed light on the present." -- Diane Shamash, Art in America, October 1998 Very Good. Pink personal library sticker wrapping around spine and onto covers. Light yellowing of pages, contents otherwise clean and unmarked.

[82] pp.; 12.5 x 14 cm.; staple bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue / artists' book published in conjunction with show held November 23, 1997 - March 29, 1998. Includes installation images of the exhibition as installed at Documenta X, June 21 - September 28, 1997. "The ongoing 'Poetics Project' serves up a rich mix of visual and aural experiences, while inviting viewers to question the reliability of the shows as history. Artist Mike Kelley says, 'If you don't create your own history, someone else will." Kelley and Tony Oursler's the 'Poetics Project 1977-1997' is a retrospective work that draws from their collaborative efforts in painting, video, sculpture, drawing and music. Although the ostensible subject of this project is Kelley and Oursler's early experiences as performers in a loose-knit musical group called the Poetics, its broader concerns are the processes by which history is constructed, and the reciprocal relationship between the fine arts and popular culture. The conflation of past and present in the 'Poetics Project' makes it difficult at first for the viewer to penetrate the work. Video installations and taped interviews with visual artists, rock musicians and critics are intermingled with paintings, sculptures and stacks of drawings. A precise checklist and diagram prepared by Kelley and Oursler methodically pinpoint the authorship of each work, while serving as a serf-guided tour and critical record of the project. Only with this didactic help do viewers come to realize that the 'Poetics Project' is almost entirely made up of works created in 1997 and 1998, though based on what Kelley and Oursler tell us is a single notebook of sketches and a collection of audio recordings--some little more than notations for never-performed works--which date from the late 1970s and early '80s (the Poetics disbanded in 1983). Filled with irony and steeped in serf-reflexive practice, this work builds upon the radical autobiographical prose of William S. Burroughs and art works and performances by artists such as John Baldessari, Allan Kaprow and Andy Warhol. Reminiscent of Warhol's A:A Novel, which records one day in the life of the artist in 384 pages, the 'Poetics Project' is an expanding template of art works which explores how the past can be reconstructed to shed light on the present." -- Diane Shamash, Art in America, October 1998 Fine. As issued, covers and contents clean and unmarked.

Zustand: Gut. 1. Auflage. 22 x 15 cm. 113 S., 1 Beiblatt (Source list of Beuys's statement in this book). OPappband mit OBauchbinde. Gutes bis sehr gutes Exemplar. Texte in Japanisch und Englisch. Mit Beiträgen von Hiroyuki Ikeda (Introduction), Shizuko Watari, Jaromir Jedlinski, Noriyuki Ueda, Yoshiharu Imaizumi, Mitsuo Matsuka und Ichiro Hariu. Durchgehend mit Abbildungen versehen, teilweise in Farbe. Sprache: japanisch und englisch. 9784900398153 Sprache: Deutsch Gewicht in Gramm: 550.

Hardcover. Zustand: Sehr gut. Künstler: Beuys, Joseph . Verleger: Watari-Um . Herausgeber: The Watari Museum Of Contemporary Art, Tokyo . Datum: 1991. 114 Seiten mit zahlr. teils ganzs. Schwarzweissabb. und einigen Farbabb. . Englisch ; Japanisch . 8to., Oktavformat, 21,8 x 15,4 cm. farb. illustr. OPappband mit betitelter OBanderole. Published on the occasion of the exhibition 'Joseph Beuys - Beyond the Border to Eurasia', September 21 - December 30, 1991 at WATARI-UM, the Watari Museum of Contemporary Art, Tokyo. Mit Texten von/ texts by Hiroyuki Ikeda (Introduction), Shizuko Watari, Jaromir Jedlinski, Noriyuki Ueda, Yoshiharu Imaizumi, Mitsuo Matsuka und Ichiro Hariu. annähernd tadelloses Exemplar/ near mint copy.