Nagel Alexander (559 results)

hardcover. Condition: Good.

Condition: Very Good. Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Hardcover. Condition: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condition: Fine. 1st. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

Condition: Good. 1st. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Very Good. 1st. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Very Good. Very Good condition. Very Good dust jacket. Kit complete. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Hardback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Good+. 1st Edition. Pictures included in the book. Pages are clean. Book is tight. Slight edge wear. Jacket has a tear.

paperback. Condition: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.…

Condition: good. A copy that has been read, remains in good condition. All pages are intact, and the cover is intact. The spine and cover show signs of wear. Pages can include notes and highlighting and show signs of wear, and the copy can include "From the library of" labels or previous owner inscriptions. 100% GUARANTEE! Shipped with delivery confirmation, if you're not satisfied with purchase please return item! Ships via media mail.…

paperback. Condition: Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing, fanning, inscriptions, margin notes, yellowing, staining on edge or cover or pages, bumps, scuffs, etc etc (sometimes multiple of these). It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

Condition: acceptable. The item is very worn but is perfectly usable. Signs of wear can include aesthetic issues such as scratches, dents, worn and creased covers, folded page corners and minor liquid stains. All pages and the cover are intact, but the dust cover may be missing. Pages may include moderate to heavy amount of notes and highlighting, but the text is not obscured or unreadable. Page edges may have foxing age related spots and browning . May NOT include discs, access code or other supplemental materials.…

Condition: 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.

Hardcover. Condition: Good. No jacket. Slight soiling of light-colored covers. Slight edge wear on covers. Otherwise in very good condition.

Hardcover. Condition: Near Fine. Dust Jacket Condition: No Dust Jacket As Issued. A book that looks almost new; 11.20 X 10.60 X 0.80 inches; 128 pages; Full of drawings, color and b/w.

Condition: 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.

Paperback. Condition: Good. Satisfaction 100% guaranteed.

Condition: Good. Princeton University Press, 1979. Cover lightly soiled/rubbed, corners lightly rubbed/bumped,spine sunned, spine ends very lightly bumped; inside front flap has stamp of previous owner, the mathematician Ray Kunze, in red ink; ffep has ink transfer; binding tight; cover, edges, and interior intact and clean except as noted. paperback. Good.…

Hardcover. Condition: Fine. Fine Dust Jacket. First Edition. 8vo. 312 pages. We specialize in fine books in collectible condition. Orders are professionally packaged and shipped promptly.

Hardback. Condition: Good. In a series of episodic chapters, he reconsiders from an innovative double perspective a number of key issues in the history of art, from iconoclasm and idolatry to installation and the museum as institution. He shows how the central tenets of modernism - serial production, site-specificity, collage, the readymade, and the questioning of the nature of art and authorship - were all features of earlier times before modernity, revived by recent generations Nagel examines, among other things, the importance of medieval cathedrals to the 1920s Bauhaus movement, the parallels between Renaissance altarpieces and modern preoccupations with surface and structure; the relevance of Byzantine models to Minimalist artists; the affinities between ancient holy sites and early earthworks; and the similarities between the sacred relic and the modern readymade. Alongside the work of leading 20th-century medievalist writes such as Walter Benjamin, Marshall McLuhan, Leo Steinberg, and Duchamp, Kurt Schwitters, Robert Smithson, and Damien Hirst The effect of these encounters goes in two directions at once: each age offers new insights into the other, deepening our understanding of both past and present, and providing a new set of reference points that reframe the history of art itself.…

Softcover with dustjacket, unpaginated; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

paperback. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Soft cover. Condition: Very Good. Softcover in VG condition: slight handling, long gift inscription on the title page, otherwise unmarked. 90 pages, with black and white photographs of West Berlin life, circa the 1970s, with captions in German. [8oz]. Book.

Soft cover. Condition: New. 1st. The catalogue of an exhibition at the DC Moore Gallery, New York, May 2 - June 15, 2013. 39pp 0.66lb 11.0x9.4x0.2in. Alexi Worth (illustrator).

Hardback. Condition: Good. In a series of episodic chapters, he reconsiders from an innovative double perspective a number of key issues in the history of art, from iconoclasm and idolatry to installation and the museum as institution. He shows how the central tenets of modernism - serial production, site-specificity, collage, the readymade, and the questioning of the nature of art and authorship - were all features of earlier times before modernity, revived by recent generations Nagel examines, among other things, the importance of medieval cathedrals to the 1920s Bauhaus movement, the parallels between Renaissance altarpieces and modern preoccupations with surface and structure; the relevance of Byzantine models to Minimalist artists; the affinities between ancient holy sites and early earthworks; and the similarities between the sacred relic and the modern readymade. Alongside the work of leading 20th-century medievalist writes such as Walter Benjamin, Marshall McLuhan, Leo Steinberg, and Duchamp, Kurt Schwitters, Robert Smithson, and Damien Hirst The effect of these encounters goes in two directions at once: each age offers new insights into the other, deepening our understanding of both past and present, and providing a new set of reference points that reframe the history of art itself.…

Softcover. Condition: VG. Color illus. wraps; 39 pp.; 22 color plates. Issued in conjunction with a 2013 exhibition of these works by American painter and writer Alexi Worth (b. 1964). Includes an artist interview conducted by Alexander Nagel, and many fine examples of Worth's creativity. Alexi Worth (illustrator).…

Hardback. Condition: Fair. A reconsideration of the problem of time in the Renaissance, examining the complex and layered temporalities of Renaissance images and artifacts.In this widely anticipated book, two leading contemporary art historians offer a subtle and profound reconsideration of the problem of time in the Renaissance. Alexander Nagel and Christopher Wood examine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. Anachronic Renaissance reveals a web of paths traveled by works and artists--a landscape obscured by art history's disciplinary compulsion to anchor its data securely in time. The buildings, paintings, drawings, prints, sculptures, and medals discussed were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be Early Christian antiquities, the acheiropoieton (or image made without hands), the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. Although a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. This book is not the story about the Renaissance, nor is it just a story. It imagines the infrastructure of many possible stories.…