Emilio Prini (11 results)

Hardcover. Condition: Used - Like New. Zero to Infinity: Arte Povera, 1962-1972 focuses on one of the most innovative and influential art movements of the postwar era. Arte Povera came of age in the context of the economic boom of the ''Italian miracle'' and the subsequent student and workers' revolts of 1968. The work of Arte Povera was motivated by an urge to revolt not only against the primary achieved by painting in the postwar period, but also against certain aspects of the emerging consumer culture. This exhibition and its accompanying catalogue provide a highly comprehensive retrospective of the Arte Povera movement as a historical and aesthetic phenomenon that crossed a wide range of disciplines, including sculpture, installation, drawing, and photography as well as film and performance. The exhibition traces Arte Povera's genesis within the artistic, cultural, and political context of Italy to its positioning within the broader international context of postwar artistic practices, a moment marked by the participation of the Arte Povera group in the 1972 Documenta V exhibition in Kassel. This brilliant and crucial new catalogue is designed by the Walker Art Center's award-winning Design Department, and includes a wide range of essays by international scholars and curators, as well as rare historical documentation, in an unprecedented re-examination of the Arte Povera movement. Very nice clean, tight copy free of any marks.

HARDCOVER. Condition: As New. 1st Edition. Thick, heavy 4to in thick colour printed boards, 367pp, illustrated . [CONDITION: NEW unread and unmarked copy ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Brossura. Condition: nuovo. seconda edizione. Quanto più passano gli anni da quell'ormai lontano 1945, tanto più appare evidente che la fine della seconda guerra mondiale ha segnato una cesura di grandissimo rilievo rispetto alla storia precedente. Questo vale in particolare per la filosofia come fatto culturale specifico che, dai suoi primordi in Grecia, ha caratterizzato per oltre due millenni la civiltà europea ed occidentale. Tracciare un bilancio della filosofia del dopoguerra, vedere se assistiamo semplicemente alla sua sopravvivenza, oppure a una sua radicale trasformazione, o addirittura al suo definitivo tramonto, significa dunque interrogarsi sul destino non solo della filosofia, ma della nostra storia presente e futura. Ma questo bilancio non poteva essere un semplice consuntivo; doveva piuttosto essere l'avvio a un confronto critico con idee e tendenze in pieno sviluppo, tutt'altro che canonizzate in schemi storiografici rigidi e esaustivi. Così un folto gruppo di specialisti ha preso in esame il configurarsi del pensiero del dopoguerra nelle diverse aree culturali. Per la Germania: gli sviluppi dell'esistenzialismo e dello storicismo fino alle correnti ermeneutiche, la teologia della demitizzazione, la filosofia della speranza e la Scuola di Francoforte. Per la Francia: la filosofia dello spirito, l'esistenzialismo di Sartre, il neoumanesimo di Merleau-Ponty, lo strutturalismo, gli indirizzi fenomenologici e ermeneutici, la presenza di Hegel, di Marx e di Freud, gli sviluppi più significativi del pensiero estetico e religioso. Per l'Inghilterra: la filosofia analitica e neopositivistica, le correnti linguistiche e i loro sviluppi in campo etico, religioso, politico e pedagogico. Per gli Stati Uniti: l'epistemologia, i rapporti tra fenomenologia e psicologia, la filosofia dell'arte e della religione, l'antropologia e la sociologia. Particolarmente suggestivo l'incontro con i filosofi italiani che, in una sorta di ideale tavola rotonda, hanno fatto il punto non solo sullo sviluppo del loro pensiero, ma sul quadro complessivo della filosofia contemporanea nelle sue principali correnti e sulla funzione della filosofia nella vita e nella società italiana. Una serie di agili note bibliografiche a ciascuno degli argomenti trattati fa di questo volume lo strumento più aggiornato per orientarsi nel dibattito filosofico più recente e per coglierne i rapporti con la scienza, la cultura e la vita d'oggi. Descrizione bibliografica Titolo: La Filosofia dal '45 ad oggi Autori Vari: Valerio Verra, Luigi Pareyson, Alberto Caracciolo, Franco Lombardi, Gaetano Calabrò, Armando Rigobello, Gianni Vattimo, Xavier Tilliette, Francesco Valentini, Renato Giorda, Sergio Moravia, Marco M. Olivetti, Emilio Garroni, Carlo Tullio Altan, Franco Ferrarotti, Eugenio Garin, Gustavo Bontadini, Enzo Paci, Paolo Filiasi Carcano, Marino Gentile, Cornelio Fabro, Sergio Cotta Cesare Luporini, Mario Dal Pra, Giuseppe Semerari Giulio Preti, Norberto Bobbio, Franco Lombardi, Eugenio Lecaldano, Luigi Pareyson, Pietro Prini, Dario Antiseri, Vittorio Mathieu, Pietro Piovani, Paolo Rossi, Monti, Alberto Pasquinelli, Francesco Barone, Nicola Abbagnano, Pietro Rossi, Carlo Augusto Viano, Antonio Santucci, Vittorio Frosini, Alberto Granese Curatore: Valerio Verra Editore: Roma: ERI, Edizioni Rai Radiotelevisione Italiana, Febbraio 1976 Lunghezza: 551 pagine; 23 cm ISBN: 8839701311, 9788839701312 Collana: Volume 65 di Saggi Soggetti: Filosofia Antologie critiche Critica filosofica Pensiero filosofico Contemporanea Saggistica Idealismo tedesco Studi culturali Correnti filosofiche Ideologie Novecento Americana Antropologia Circolo di Vienna Concetto Concezione Coscienza Crisi Cristianesimo Essere Uomo Dialettica Discorso Dopoguerra Einaudi Empirismo Ermeneutica Ernst Bloch Esistenzialismo Estetica Etica Fenomenologia Analitica Italiana Psicologia Psicanalisi Freud Gabriel Marcel Hegel Heidegger Husserl Interpretazione Jaspers Linguaggio Linguistica Logica London Ludwig Wittgenstein Macmillan Marx Marxismo Mente Merleau-Ponty Metafisica Metodo Metodologica Mondo Morale Neopositivismo New York Oggetto Ontologia Opere generali Oxford Paris Paul Ricoeur Pensiero contemporaneo Polemica Politica Posizione Problema Processo Prospettiva Psicoanalisi Radicale Ragione Rapporto Realtà Religione Religioso Ricerca Rudolf Bultmann Russell Saggio Sartre Scientifica Scienza Senso Significato Sistema Società Sociologia Storia Storico Struttura Strutturalismo Sviluppo Tecnica Teologia Teoria Teorici Termini Torino Tradizionale Tradizione Umana Verità Waismann Bibliografia Riferimento Manuali Consultazione Collezionismo Libri rari Vintage fuori catalogo Nazismo 1975 Discussioni Philosophie 20e siécle Germania Antisemitismo Catastrofe Demitizzazione Ecumenismo Hans Georg Gadamer Speranza Scuola di Francoforte Polemiche Fermenti Prospettive Francia Trascendente Esprit Jean-Paul Sartre Neoumanesimo Studi Hegeliani Generazione sartriana Letteratura Arte Vita sociale Cattolicesimo Inghilterra Religione Analitiche Nomi Logica Epistemologia Diritto Educazione Società Stati Uniti d'America Clima Controversie Dispute Sinistra Comunismo Manuali Borghesia Meccanica Anni Settanta Etnologia Sociologia Scienze sociali Dewey Pedagogia Bergson Cultura dominante Potere Klibansky Raccolte Belaval Sciacca Chatelet Referenze Battaglia Pongratz Lacroix Lewis Magee Malinin Efirov Zumr Umberto Cerroni Petrovic Suvorov Krishna Kabir Asia Indiana Russa Sovietica Mao Tse-Tung Cina Rivoluzione culturale Bonfantini Macciò Shoah Nichilismo Postmodernismo Gesellschaft Geschichte Tecnica Habermas Pacifismo Lowenthal Gutermann Adorno Horkheimer Marcuse Columbia University Hartmann Zweig Letteratura Quine Peirce Max Weber Whitehead Teilhard de Chardin Wisdom Emanuele Severino Ryle Kierkegaard Kant Lévy-Strauss Kojève Lacan De Lubac Lukacs Gaetano Mosca Pareto Nietzsche Munro Moore Carnap Chomski Dilthey Derrida Feuerbach Hare Gurwitsch Gramsci Barth Ayer Simone de Beauvoir Binswanger Bataille Aliotta Banfi Bobbio Della Vol.

Soft cover. Condition: Very Good. 1st Edition. 60 pages, b/w ill., 38 × 26.5 cm, English/Italian A scarce copy of a publication that is a long distance dialogue between two different generations, a young artist and one of the protagonists of Arte Povera. The pages of the only 1960s institutional catalog by Prini are xeroxed, mixed up, and modified by Pecoraro. The book draft is then reworked and adjusted by Prini, who defines his contribution with the line illustration by emilio prini, as if all images were a unique, single act. VERY GOOD (minor signs of shelf wear, pages clean and unmarked, binding is tight).

24 pp.; 42.8 x 31.5; loose leaves; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; February - March 1971 issue of Flash Art, edited by Giancarlo Politi. Cover artworks: Field that can be entered, by Gianni Colombo; Amore Mio, exhibition at Montepulciano, July 1970, by Jannis Kounellis; One-man show at the Daniel Templon Gallery, Paris, October, 1970, by Ben Vautier and Mass at the Daniel Templon Gallery, Paris, November, 1969 by Michel Journiac. Contents include: artists' statements, images and texts by Michel Journiac, Catherine Millet, Gianni Colombo, Jannis Kounellis, Ben Vautier, Angela Davis, Enea Ferrari, Joseph Beuys, Bruce Nauman, Walter de Maria, Gilbert and George, Emilio Prini, Gail Schneider, Clair Colquitt, William Wiley, Italo Tomassoni, Francois Morellet, Dan Flavin, Fred Sandback, Ed Kienholz, Bernar Venet, Roberto Sanesi, Claudio Costa, Mario Ceroli, Giancarlo Croce, Gina Pane, Aldo Tagliaferro, James Coleman, Kenneth Snelson, and Georges Noel. Texts in English and Italian. Good / Very Good. Folded in through the horizonal center as issued. Light edgewear and bumping of corners. 4 cm. staining on bottom right corner of verso. Contents otherwise clean and unmarked.

104 pp.; 21.5 x 10.7 cm.; glue bound; black-and-white; edition size 5000; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with the traveling show "do it," conceived and curated and with an introduction by Hans-Ulrich Obrist. Essay by Bruce Altshuler. Artists in the museum portion of the exhibit include Andrew Bolton, Joan Brossa, Critical Art Ensemble, Jimmie Durham, Maria Eichhorn, Hans-Peter Feldmann, Paul-Armand Gette, Felix Gonzalez-Torres, Joseph Grigely, Ulrike Grossarth, Shere Hite, Fabrice Hybert, Ilya Kabakov, Mike Kelley, Alison Knowles, Koo Jeong-a, Bertrand Lavier, Siobhan Liddell, Eva Marisaldi, Chris Marker, Yoko Ono, Michelangelo Pistoletto, Emilio Prini, Jason Rhoades, Rupert Sheldrake, Andreas Slominski, Bruce Sterling, Rirkrit Tiravanija, Lawrence Weiner, Erwin Wurm, Marina Abramovic, Dara Birnbaum, Gilbert & George, Liam Gillick, Douglas Gordon, Dan Graham, Marie-Ange Guilleminot, María Teresa Hincapié, Allan Kaprow, Ben Kinmont, Jiri Kolar, Annette Messager, Eileen Myles, Pepón Osorio, Steven Pippin, Pipilotti Rist, Nancy Spero, Rosemarie Trockel and Franz West. Artists included in do it (tv) broadcast on Austrian television include Gilbert & George, Leon Golub, Douglas Gordon, Marie-Ange Guilleminot, Shere Hite, Robert Jelinek, Ilya Kabakov, Jonas Mekas, Eileen Myles, Yoko Ono, Steven Pippin, Michelangelo Pistoletto, Michael Smith, Nancy Spero, Rirkrit Tiravanija, Lawrence Weiner, Christian Boltanski, John Baldessari, and Erwin Wurm. Very Good. Light rubbing of covers and fading at spine. Contents clean and unmarked.

55 pp.; 35.5 x 25 cm.; loose leaves; duotone; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with Prospect 69 held September 30 - October 12, 1969. Conceived of and organized by Konrad Fischer and Hans Strelow. Edited section by Seth Siegelaub incorporates interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner conducted individually by themselves. rovides an overview of participating galleries and their artists. Additionally includes "in unabhängiger Präsentation, da von Auswahlkomitee eingeladen, aber nicht von den PROSPECT 69 vertretenen Galerien in der Kunstalle gezeight" [in an independent presentation, as invited by the selection committee, but not shown by the galleries represented by PROSPECT 69 in the Kunsthalle]. Artists include Bernd & Hilla Becher, Hanne Darboven, Jan Dibbets, Bruno Gronen, Michael Heizer, Sol LeWitt, Richard Long, Reiner Ruthenbeck, and Niele Toroni. Additionally includes full-page images or projects by Robert Smithson (Mirror Displacement, Portland Isle, England, 1969), Charles Ross, Markus Raetz, Jean-Frédéric Schnyder, Jannis Kounellis, Eliseo Mattiacci, Stanley Brouwn, Alighero Bottti (1/2 page), Emilio Prini (1/2 page), Giuseppe Penone (1/2 page), Pier Paolo, Calzolari (1/2 page), E.P. Butler (1/2 page), Eric Orr (1/2 page), James Lee Byars (1/2 page), Paul Cotton (1/2 page), Hans Haacke, Lynda Benglis, Ron Cooper, Doug Wheeler, Giorgio Griffa, David Prentice, a double-page centerfold of blue stripes by Daniel Buren, Dennis Oppenheim, ZAJ-Gruppe, Dick Higgins, Joseph Beuys (photo by Ute Klophaus), David Lamelas, and 13 "Information" pages with advertising.Exhibition catalogue published in conjunction with Prospect 69 held September 30 - October 12, 1969. Conceived of and organized by Konrad Fischer and Hans Strelow. Edited by Seth Siegelaub. Provides an overview of participating galleries and their artists and includes interviews with Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner. References : "Seth Siegelaub : Beyond Conceptual Art" by Leontine Coelewij, Sara Martinetti, Marja Bloem, Julia Bryan-Wilson, Jo Melvin, Götz Langkau, Matilda McQuaid, Alan Kennedy, Seth Siegelaub. Köln and Amsterdam, Germany / Netherlands : Verlag der Buchandlung Walther König / Stedelijk Museum, 2016, pp. 176-179. "Six Years, The Dematerialization of the Art Object from 1966 to 1972 : A Cross-Reference Book of Information on Some Esthetic Boundaries . / edited and annotated by Lucy R. Lippard." by Lucy R. Lippard. Praeger Publishers Inc., NY / DC : Praeger Publishers Inc., 1973, pp. 113 - 115. Very Good. Light overall aging to paper, few very small chips to lower edge of recto cover, pale time staining to verso cover. Contents clean and unmarked. An outstandingly well preserved copy of a otherwise typically fragile publication.

240 pp.; 22.5 x 20.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed "This book does not aim at being an objective and general analysis of the phenomenon of art or life, but is rather an attempt to flank (both art and life) as accomplices of the changes and attitudes in the development of their daily becoming. This book does not attempt to be objective since the awareness of objectivity is false consciousness. The book, made up of photographs and written documents, bases its critical and editorial assumptions on the knowledge that criticism and iconographic documents give limited vision and partial perception of artistic work. The book, when it reproduces the documents of artistic work, refutes the linguistic mediation of photography. The book, even though it wants to avoid the logic of consumption, is a consumer's item. . This book produces a collection of already old material. . In this book there is no need to reflect in order to seek a unitary and reassuring value, immediately refuted by the the authors themselves, rather there is the necessity to look into it for the changes, limits, precariousness and instability of artistic work." -- text from Celant's introduction "Stating That." Includes artists Walter de Maria, Michelangelo Pisteletto, Stephen Kaltenbach, Richard Long, Mario Merz, Douglas Huebler, Joseph Beuys, Eva Hesse, Michael Heizer, Ger van Elk, Lawrence Weiner, Luciano Fabro, Bruce Nauman, Joseph Kosuth, Jan Dibbets, Giovanni Anselmo, Robert Barry, Pier Paolo Calzolari, Dennis Oppenheim, Barry Flanagan, Robert Smithson, Giulio Paolini, Reiner Ruthenbeck, Alighiero Boetti, Giuseppe Penone, Franz Erhard Walther, Hans Haacke, Gilberto Zorio, Robert Morris, Marinus Boezem, Carl Andre, Emilio Prini, Richard Serra. Text in Italian. Fair / Good. Two 3 cm. tears to upper spine edge. Moderate rubbing and light yellowing of covers. Moderate Foxing on inside front and back covers and scattered throughout the interior. Name of previous owner in ink on first free inside page. 1 cm. dog ear to corner of folded interior of back cover.

48 pp.; 31.5 x 25 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Hardback variant of Studio International, Vol. 180, No. 924 (July / August 1970) containing only the conceptual catalogue for an exhibition that took place within the pages of the issue organized, and with an introduction by, Seth Siegelaub. Curated chapters by David Antin, Germano Celant, Michel Claura, Charles Harrison, Lucy R. Lippard, and Hans Strelow. Artists include Dan Graham, John Baldessari, Richard Serra, Eleanor Antin, Fred Lonidier, George Nicolaidis, Keith Sonnier, Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Mario Merz, Giuseppe Penone, Emilio Prini, Pistoletti, Gilberto Zorio, Daniel Buren, Keith Arnatt, Terry Atkinson, David Bainbridge, Harold Hurrell, Michael Baldwin, Victor Burgin, Joseph Kosuth, Barry Flanagan, John Latham, Roelof Louw, Robert Barry, Stephen Kaltenbach, Lawrence Weiner, On Kawara, Sol LeWitt, Douglas Huebler, N.E. Thing Co., Frederick Barthelme, Jan Dibbets, and Hanne Darboven. "This exhibition was organized by requesting six critics to each edit an 8-page section and in turn, to make available their section to the artist(s) that interest them." -- from Siegelaub's introduction. Text in English, German, and French. References : "Materializing Six Years : Lucy R. Lippard and the Emergence of Conceptual Art" by Catherine Morris, Vincent Bonin, Julia Bryan-Wilson. Brooklyn / Cambridge, NY / MA : Brooklyn Museum / MIT Press, 2012, pp. 39. "International General, Distributing Independently Produced Vanguard Art Books, Catalogues and Information" by Seth Siegelaub. New York, NY : International General, 1971. "Seth Siegelaub : Beyond Conceptual Art" by Leontine Coelewij, Sara Martinetti, Marja Bloem, Julia Bryan-Wilson, Jo Melvin, Götz Langkau, Matilda McQuaid, Alan Kennedy, Seth Siegelaub. Köln and Amsterdam, Germany / Netherlands : Verlag der Buchandlung Walther König / Stedelijk Museum, 2016, pp. 208-211. "Six Years, The Dematerialization of the Art Object from 1966 to 1972 : A Cross-Reference Book of Information on Some Esthetic Boundaries . / edited and annotated by Lucy R. Lippard." by Lucy R. Lippard. Praeger Publishers Inc., NY / DC : Praeger Publishers Inc., 1973, pp. 179. Good / Very Good. Curve to recto with mild rubbing of covers. Light yellowing of pages. Contents otherwise clean and unmarked.

senza rilegatura. Condition: ottimo. prima edizione. PRINI Emilio (Stresa 1943 - Roma 2016) - SERRAO Francesco (Roma 1946) Milano, Accademia di Brera, 1989/1990, 20,9x14,7 cm, typographic invitation sheet printed in gold on a white background published on the occasion of Emilio Prini's press conference "La rivoluzione prossima ventura (è arrivata)" and the screening of the film "The Masks of the Night" by Francesco Serrao (17 December 1990). Copy with signs of three folds for shipping.

senza rilegatura. Condition: ottimo. prima edizione. "Twisted Standards" features two artists who are prominently presented in the collection. They are Emilio Prini and Elmar Zimmermann. With his affinities to Arte Povera, the Italian Prini belongs to an older generation. He will be shown with half a dozen primarily monumental photographic works from the 1960s to the 1980s. The German artist Elmar Zimmermann already participated in "Show 1" witha huge, site-specific installation entitled Eine Wand. In this exhibition, he will show this piece once more, offering new perspectives to this wood-felt concoction. In a selection of a handful of works from the last few years, some of them taken from thegarbage, some of them found or made of industrial materials, Zimmermann literally approaches Prini's older works. In his own days, Prini frequently challenged conventions as he declared something an artwork when many of his contemporaries had strong doubts regarding the artistic merits. This is exactly the type of ingredient Jochen Kienzle finds attractive.The title bears a number of allusions and is thus in keeping with the Kienzle Art Foundation's mission: It is the goal of Jochen Kienzle to show marginalized, quasi-forgotten or not very well known artists. He wants to investigate their positions and offer them a forum where their oeuvre can be discussed. This event is thus logical.The focus of "Show 2" is recourse to analogous black-and-white photography. The question of our standpoint is once more addressed in light of traditional media. And our present-day digital implicitness is thereby challenged. The intention is neither to be decorative nor to be tame. It is an attempt to re-reflect the numerous works of art, assembled over many years by the foundation, and to look at them again in a different light. The intention of the Kienzle Art Foundation continues to retain an open and discursive collection structure, as well as a clear commitment to art.A publication will accompany "Show 2." Once again, this is a large poster, presented as a leporello with images and German / English text", Text: Kletke Daniel. cm 15x21; COL and BW; scarce item.