Dessel (200 results)

Paperback. Condition: Good. New York, 1973; illustrated black and white paper covers; edge and corner wear; 8vo - over 7 3/4" to 9 3/4" tall; interior notations and underlining; 318 pages.

Hardcover. Condition: Fair. spine and board edges reinforced with binding tape; usual library markings.

Paperback. very good trade paperback.

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Cloth Hardback - Bright. Condition: VG+. Appears to be the 1st. Dutch? text. Size: 12mo - over 6¾" - 7¾" tall.

Condition: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: new. Paperback. Once a month during the renovation of De Garage, Kris Van Dessel collected a sample of rubble from the site. In the period from March 2013 to December 2014, he took 22 samples in total, each of which he carefully filtered and meticulously stored in chronological order in his atelier, their temporary resting place. These were preserved in transparent containers, which started to form a stacked representation of muted earth colours showing the geological strata of the renovations gradual progress. The resulting stack would not have looked out of place in an archaeological research facility. The artists subtle presence amid all the activity of the construction site must have appeared quite inconspicuous. This tightly rhythmic series of actions manifests itself in the solo exhibition Sampled History, in which the artist has transposed the samples to the exhibition space in one simple, geo-artistic gesture. He mixes every sample of material with a specific amount of water and applies these emulsions to the walls of the exhibition space, employing a syntax of consecutive, chronological layers.Sampling means borrowing a characteristic piece of another creation with the intention of incorporating it in ones own work. The principle was first observed in the mid-20th century in the French musical movement Musique Concrete, in which existing sounds were incorporated into sound collages. Something similar can be observed here in this context. Through the schematic, geological representation of the renovation process, the scars of former artistic productions are made visible in the epidermis of the exhibition space. The archaeology of cultural production in De Garage is gradually revealed by the artist. This intervention recalls a memory albeit inverted of Pierre Huyghes intervention piece Timekeepers. Here, the layer-after-layer exposure of erased presentations in the walls paintwork makes way for Van Dessels forensic detection of clues across the walls surface. The carefully-applied pigments are expertly brushed away after a certain amount of drying time has allowed the added water to evaporate. Characteristic of Van Dessels recent work is the recurring principle of completely returning the raw materials he has used in his artistic process to the earth. The substances are returned to their origin like a field recording played back at the location where it was recorded.The work of Kris Van Dessel is not to be categorised as a series of manufactured artefacts bound to or positioned in an exhibition space. His work would better be described as offering cross-sections of discoveries made tangible the results of poetic-artistic research, presented here as food for thought for the observer. In addition to the renovation works that have fundamentally changed the architecture of the spaces, Kris Van Dessel has, with the utmost discretion, created a parallel space that breaks through the established time-space continuum. Its wonderful to get lost in his work, that is, once youve wormed your through the formal, syntactic trail of consecutive, chronological, two-dimensional layers; reaching the light at the end of the wormhole, you are free to reflect on what has been and what could be in the future of the safe haven that is art now surely more essential than ever.() In other words, to perceive the whole is to leave the fragments displaced. Robert Smithson. (Beatrijs Eemans) Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. Once a month during the renovation of De Garage, Kris Van Dessel collected a sample of rubble from the site. In the period from March 2013 to December 2014, he took 22 samples in total, each of which he carefully filtered and meticulously stored in chronological order in his atelier, their temporary resting place. These were preserved in transparent containers, which started to form a stacked representation of muted earth colours showing the geological strata of the renovation's gradual progress. The resulting stack would not have looked out of place in an archaeological research facility. The artist's subtle presence amid all the activity of the construction site must have appeared quite inconspicuous. This tightly rhythmic series of actions manifests itself in the solo exhibition Sampled History, in which the artist has transposed the samples to the exhibition space in one simple, geo-artistic gesture. He mixes every sample of material with a specific amount of water and applies these emulsions to the walls of the exhibition space, employing a syntax of consecutive, chronological layers. Sampling means borrowing a characteristic piece of another creation with the intention of incorporating it in one's own work. The principle was first observed in the mid-20th century in the French musical movement Musique Concrète, in which existing sounds were incorporated into sound collages. Something similar can be observed here in this context. Through the schematic, geological representation of the renovation process, the scars of former artistic productions are made visible in the epidermis of the exhibition space. The archaeology of cultural production in De Garage is gradually revealed by the artist. This intervention recalls a memory - albeit inverted - of Pierre Huyghe's intervention piece 'Timekeepers'. Here, the layer-after-layer exposure of erased presentations in the wall's paintwork makes way for Van Dessel's forensic detection of clues across the wall's surface. The carefully-applied pigments are expertly brushed away after a certain amount of drying time has allowed the added water to evaporate. Characteristic of Van Dessel's recent work is the recurring principle of completely returning the raw materials he has used in his artistic process to the earth. The substances are returned to their origin - like a field recording played back at the location where it was recorded. The work of Kris Van Dessel is not to be categorised as a series of manufactured artefacts bound to or positioned in an exhibition space. His work would better be described as offering cross-sections of discoveries made tangible - the results of poetic-artistic research, presented here as food for thought for the observer. In addition to the renovation works that have fundamentally changed the architecture of the spaces, Kris Van Dessel has, with the utmost discretion, created a parallel space that breaks through the established time-space continuum. It's wond.

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

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Condition: New.

Soft cover. Condition: Good. 32pp. Official English Text. Bound in original wrappers. Name ink-stamped to front cover. Several minor dings to extremities of volume, with some general light wear and a hint of soiling to exterior. Text clean and binding sound Size: 4to - over 9¾ - 12" tall. Book.

Soft cover. Condition: Good. 22pp. Official English Text. Bound in original wrappers. Several minor dings to extremities of volume, with a name ink-stamped to front cover and some general light wear to exterior. Text clean and binding sound Size: 4to - over 9¾ - 12" tall. Book.

Condition: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Condition: good. This is a retired library book with typical wear markings. May or may not have library stickers attached which will not be removed.

Soft cover. Condition: Good. Light wear. Light edgewear. Light soiling.

Hardcover. Condition: Comme neuf. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, As new. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Très bon. Petite(s) trace(s) de pliure sur la couverture. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Slightly creased cover. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Très bon. Salissures sur la tranche. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Stains on the edge. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Très bon. Salissures sur la tranche. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Stains on the edge. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Comme neuf. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, As new. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Comme neuf. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, As new. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Comme neuf. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, As new. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condition: Très bon. Edition 2023. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Edition 2023. Ammareal gives back up to 15% of this item's net price to charity organizations.

Condition: New.

Condition: New.

Hardcover. Condition: Good. Dust Jacket Condition: Good. Bantzinger, C. A. B. (illustrator). No date. Jacket chipped. Tan cloth. Gilt spine title and front decoration. Corners bumped. Pages clean. Binding good.