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Published by Hatje Cantz Publishers, 2003
ISBN 10: 3775791485ISBN 13: 9783775791489
Seller: Phatpocket Limited, Waltham Abbey, HERTS, United Kingdom
Book
Condition: Acceptable. Used - Acceptable. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library with wear and barcode page may have been removed. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.
Published by Hatje Cantz Publishers, 2003
ISBN 10: 3775791485ISBN 13: 9783775791489
Seller: Ivy Ridge Books/Scott Cranin, Fayetteville, NY, U.S.A.
Association Member: IOBA
Book
Paperback. Condition: Very Good. Just the slightest of cover and spine wear on this paperback, very clean and bright. All orders packed with care, independent bookseller since 2011.
Published by Hatje Cantz Publishers, 2003
ISBN 10: 3775791485ISBN 13: 9783775791489
Seller: GF Books, Inc., Hawthorne, CA, U.S.A.
Book
Condition: Very Good. Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting.
Published by Hatje Cantz Auflage: illustrated edition (Januar 2002), 2002
ISBN 10: 377579073XISBN 13: 9783775790734
Seller: BUCHSERVICE / ANTIQUARIAT Lars Lutzer, Wahlstedt, Germany
Book
Softcover. Condition: gut. Ein unverzichtbares Handbuch zur Kunst im öffentlichen Raum -mit profunden Texten von Kuratoren, Künstlern und Kunsthistorikern. Wenige Diskussionen in der bildenden Kunst sind in den letzten Jahren so kontrovers geführt worden wie die um die Bedeutung und Möglichkeiten von Kunst im öffentlichen Raum. Public Art ist erstmals 2001 in einer zweisprachigen Ausgabe erschienen und war schnell vergriffen. Nun wird der Titel in getrennten Sprachausgaben neu aufgelegt. Mehr als 50 Autoren beziehen in diesem Handbuch aus ihrer Erfahrung kritisch Stellung: ein spannend zu lesendes Kompendium von Meinungen, Statements und Berichten. Das reiche Textmaterial - von Kuratoren, Kunsthistorikern und Künstlern wie Vito Acconci, Daniel Buren, Laszlo Glozer, Dan Graham, Walter Grasskamp, Hans Haacke, Jenny Holzer, Rebecca Horn, Ilya Kabakov, Kasper König, Joseph Kosuth, Florian Matzner, Ulrich Rückriem, Richard Serra, Lawrence Weiner und vielen anderen - ist nach den Aspekten Kunst und Stadt, Kunst und Architektur, Kunst und Geschichte, Kunst und Gesellschaft, Kunst und Ausstellung, Kunst und Öffentlichkeit gegliedert. Co-Autor: Vito Acconci, Daniel Buren, Dan Graham Zusatzinfo 229 Abb. Sprache deutsch Maße 170 x 240 mm Einbandart kartoniert Kunst Musik Theater Lexika Bußmann, Klaus Festschriften Sachbücher Kunst Literatur Künste Nachschlagewerke Künstler Kunst im öffentlichen Raum Kunst öffentlicher Raum Urban Art Kunsttheorie Reihe/Serie Schriftenreihe der Akademie der Bildenden Künste München Zusatzinfo 25 Abb. Sprache englisch; deutsch Maße 170 x 240 mm Gewicht 2030 g Einbandart Paperback Kunst Musik Theater Kunst im öffentlichen Raum Kunst im oeffentlichen Raum Urban Art ISBN-10 3-7757-9073-X / 377579073X ISBN-13 978-3-7757-9073-4 / 9783775790734 In deutscher Sprache. 750 pages. 24,1 x 13,5 x 5,1 cm Auflage: illustrated edition (Januar 2002).
Published by Hatje Cantz Publishers, 2004
ISBN 10: 3775791485ISBN 13: 9783775791489
Seller: dsmbooks, Liverpool, United Kingdom
Book
paperback. Condition: Good. Good. book.
Published by Hatje Cantz, 2004
ISBN 10: 3775791477ISBN 13: 9783775791472
Seller: BUCHSERVICE / ANTIQUARIAT Lars Lutzer, Wahlstedt, Germany
Book
Softcover. Condition: gut. 2004. Ein unverzichtbares Handbuch zur Kunst im öffentlichen Raum -mit profunden Texten von Kuratoren, Künstlern und Kunsthistorikern. Wenige Diskussionen in der bildenden Kunst sind in den letzten Jahren so kontrovers geführt worden wie die um die Bedeutung und Möglichkeiten von Kunst im öffentlichen Raum. Public Art ist erstmals 2001 in einer zweisprachigen Ausgabe erschienen und war schnell vergriffen. Nun wird der Titel in getrennten Sprachausgaben neu aufgelegt. Mehr als 50 Autoren beziehen in diesem Handbuch aus ihrer Erfahrung kritisch Stellung: ein spannend zu lesendes Kompendium von Meinungen, Statements und Berichten. Das reiche Textmaterial - von Kuratoren, Kunsthistorikern und Künstlern wie Vito Acconci, Daniel Buren, Laszlo Glozer, Dan Graham, Walter Grasskamp, Hans Haacke, Jenny Holzer, Rebecca Horn, Ilya Kabakov, Kasper König, Joseph Kosuth, Florian Matzner, Ulrich Rückriem, Richard Serra, Lawrence Weiner und vielen anderen - ist nach den Aspekten Kunst und Stadt, Kunst und Architektur, Kunst und Geschichte, Kunst und Gesellschaft, Kunst und Ausstellung, Kunst und Öffentlichkeit gegliedert. Co-Autor Vito Acconci, Daniel Buren, Dan Graham Zusatzinfo 229 Abb. Sprache deutsch Maße 170 x 240 mm Einbandart kartoniert Kunst Musik Theater Lexika Bußmann, Klaus Festschriften Sachbücher Kunst Literatur Künste Nachschlagewerke Künstler Kunst im öffentlichen Raum Kunst öffentlicher Raum Urban Art Kunsttheorie ISBN-10 3-7757-9147-7 / 3775791477 ISBN-13 978-3-7757-9147-2 / 9783775791472 In deutscher Sprache. 484 pages. 24 x 17 x 3,2 cm.
Published by Rick Vermeulen / Paul Bonger Hague, Netherlands, 1972
Seller: Specific Object / David Platzker, New York, NY, U.S.A.
3 vol. : [unpaginated] ; [unpaginated] ; [unpaginated]; 3 vol. : 13.5 x 16.9 cm. (each); glue bound; black-and-white; edition size 700; unsigned and unnumbered; offset-printed; Three volume publication documenting the exhibition Sonsbeek ''71 held in and around Park Sonsbeek. Book produced as graduation projects by Paul Bonger and Rick Vermeulen at art school in Rotterdam, now know as Willem de Kooning Academy. Introduction by Bonger and Vermeulen. Artists include Vito Acconci, Bas Jan Ader, Carl Andre, Ben d''Armagnac, Richard Artschwager, Bruce Baillie, Douwe Jan Bakker, Joseph Beuys, Ronald Bladen, Marinus Boezem, Stanley Brouwn, Daniel Buren, Javacheff Christo, Tony Conrad, Hanne Darboven, Walter de Maria, Ad Dekkers, Ger Dekkers, Jan Dibbets, Ger van Elk, Pieter Engels, Groep Enschede, E.R.G., Hans Eykelboom, Barry Flanagan, Fluxus, Hollis Frampton, Ernie Gehr, Dan Graham, Robert Grosvenor, Michael Heizer, Douglas Huebler, Ken Jacobs, joepat, Donald Judd, On Kawara, W (Imi) Knoebel, Hans Koetsier, Axel van der Kraan, Peter Kubelka, George Landow, Standish Dyer Lawder, Sol LeWitt, Richard Long, Mass Moving, Yutaka Matsuzawa, Mario Merz, Jack Moore, Robert Morris, Bruce Nauman, Robert Nelson, Groep Noord-Brabant, Claes Oldenburg, Dennis Oppenheim, Nam June Paik, Panamarenko, Egbert Philips, Emilio Prini, Klaus Rinke, Peter Roehr, Ulrich Rückriem, Edward Ruscha, Fred Sandback, Jean-Michel Sanejouand, Wim T. Schippers, Richard Serra, Paul Sharits, Eric Siegel, Tony Smith, Robert Smithson, Kenneth Snelson, Michael Snow, Koert Stuyf, Ellen Edinoff, Shinkichi Tajiri, Sajiki Tenjo, Yokoyama, Carel Visser, André Volten, Hans de Vries, Lex Wechgelaar, Lawrence Weiner, Joyce Wieland, Annemiek Backer, Marijke Boon, Cor Blok, Pieter Brattinga, K. Schippers, B. van Garrel, Ton Haak, Les Levine, Titia Tybout, Odufré Joes and Wim Crouwel. Texts in English and Dutch. "The tripartite catalogue Sonskeek [sp] ''72 arose from the notes and photos we made of a project that we executed during the period November ''71 - June ''72. What was the starting point of the project? Of all the Sonsbeek exhibitions in ''49- ''52- ''55- ''59 and ''66 one could or one can find back all the sculptures; although not in the original place, in the park, they are to be seen somewhere. Yet the transiency of the projects and objects as exposed during the manifestation ''Sonsbeek buiten de perken'' for us was a reason to trace back what happened to these projects and objects. Doing this we considered ourselves as visitors who came after the closing of the manifestation. We visited the original place of the object/project, made photographs and described it and did so with the present place as well. E.g. from the gigantic wedge by Ronald Bladen at the place in park Sonsbeek hardly anything could be found, except a slight difference in colour of the pavement. The wedge itself we discovered in pieces against the wall of a shed of a firm in Arnhem. Most of the projects and objects we also found back in totally different state: at rubbish dumps, on heaps of scrap- iron, dismantled and packed in boxes, in peoples homes on the cupboard. In some cases nothing was to be found back. We sent a stencil to the 35 filmmakers asking them to send a photo and a description of the present place of their films. Description and photo were their part in our project, the original place always being the place at the lawn where in a tent the films have been shown, during the manifestation. From some filmers we didn?t get an answer within a certain period, then the second card is dropped out. Some artists played a part by the publication they got in one of both Sonsbeek cataloques. When their project had a relation with a location, we visited it and made a photo, if not, we reproduced the concerning pages out of the cataloques. The definite form of the three booklets as they now appear, is the result of collecting and combining the 360 cards on one side a photo, on the other side the description. We thank everyone who helped us to realize this project." -- Paul Bonger and Rick Vermeulen from book''s English introduction. Good. Curl to bottom right quadrant of the three volumes. Rubbing, scratching and light edge wear to covers. Volume 1 has 6.2 cm., 1 cm. and 1 mm. areas of surface tearing to verso. Volume 2 has 10 cm. area of surface tearing to recto. Contents of all volumes are clean and unmarked.
Published by Rick Vermeulen / Paul Bonger Hague, Netherlands, 1972
Seller: Specific Object / David Platzker, New York, NY, U.S.A.
3 vol. : [unpaginated] ; [unpaginated] ; [unpaginated]; 3 vol. : 13.5 x 16.9 cm. (each); glue bound; black-and-white; edition size 700; unsigned and unnumbered; offset-printed; Three volume publication documenting the exhibition Sonsbeek ''71 held in and around Park Sonsbeek. Book produced as graduation projects by Paul Bonger and Rick Vermeulen at art school in Rotterdam, now know as Willem de Kooning Academy. Introduction by Bonger and Vermeulen. Artists include Vito Acconci, Bas Jan Ader, Carl Andre, Ben d''Armagnac, Richard Artschwager, Bruce Baillie, Douwe Jan Bakker, Joseph Beuys, Ronald Bladen, Marinus Boezem, Stanley Brouwn, Daniel Buren, Javacheff Christo, Tony Conrad, Hanne Darboven, Walter de Maria, Ad Dekkers, Ger Dekkers, Jan Dibbets, Ger van Elk, Pieter Engels, Groep Enschede, E.R.G., Hans Eykelboom, Barry Flanagan, Fluxus, Hollis Frampton, Ernie Gehr, Dan Graham, Robert Grosvenor, Michael Heizer, Douglas Huebler, Ken Jacobs, joepat, Donald Judd, On Kawara, W (Imi) Knoebel, Hans Koetsier, Axel van der Kraan, Peter Kubelka, George Landow, Standish Dyer Lawder, Sol LeWitt, Richard Long, Mass Moving, Yutaka Matsuzawa, Mario Merz, Jack Moore, Robert Morris, Bruce Nauman, Robert Nelson, Groep Noord-Brabant, Claes Oldenburg, Dennis Oppenheim, Nam June Paik, Panamarenko, Egbert Philips, Emilio Prini, Klaus Rinke, Peter Roehr, Ulrich Rückriem, Edward Ruscha, Fred Sandback, Jean-Michel Sanejouand, Wim T. Schippers, Richard Serra, Paul Sharits, Eric Siegel, Tony Smith, Robert Smithson, Kenneth Snelson, Michael Snow, Koert Stuyf, Ellen Edinoff, Shinkichi Tajiri, Sajiki Tenjo, Yokoyama, Carel Visser, André Volten, Hans de Vries, Lex Wechgelaar, Lawrence Weiner, Joyce Wieland, Annemiek Backer, Marijke Boon, Cor Blok, Pieter Brattinga, K. Schippers, B. van Garrel, Ton Haak, Les Levine, Titia Tybout, Odufré Joes and Wim Crouwel. Texts in English and Dutch. "The tripartite catalogue Sonskeek [sp] ''72 arose from the notes and photos we made of a project that we executed during the period November ''71 - June ''72. What was the starting point of the project? Of all the Sonsbeek exhibitions in ''49- ''52- ''55- ''59 and ''66 one could or one can find back all the sculptures; although not in the original place, in the park, they are to be seen somewhere. Yet the transiency of the projects and objects as exposed during the manifestation ''Sonsbeek buiten de perken'' for us was a reason to trace back what happened to these projects and objects. Doing this we considered ourselves as visitors who came after the closing of the manifestation. We visited the original place of the object/project, made photographs and described it and did so with the present place as well. E.g. from the gigantic wedge by Ronald Bladen at the place in park Sonsbeek hardly anything could be found, except a slight difference in colour of the pavement. The wedge itself we discovered in pieces against the wall of a shed of a firm in Arnhem. Most of the projects and objects we also found back in totally different state: at rubbish dumps, on heaps of scrap- iron, dismantled and packed in boxes, in peoples homes on the cupboard. In some cases nothing was to be found back. We sent a stencil to the 35 filmmakers asking them to send a photo and a description of the present place of their films. Description and photo were their part in our project, the original place always being the place at the lawn where in a tent the films have been shown, during the manifestation. From some filmers we didn?t get an answer within a certain period, then the second card is dropped out. Some artists played a part by the publication they got in one of both Sonsbeek cataloques. When their project had a relation with a location, we visited it and made a photo, if not, we reproduced the concerning pages out of the cataloques. The definite form of the three booklets as they now appear, is the result of collecting and combining the 360 cards on one side a photo, on the other side the description. We thank everyone who helped us to realize this project." -- Paul Bonger and Rick Vermeulen from book''s English introduction. Good. Rubbing, scratching and light edge wear to covers and soiling to text block edges. Volume 1 has bumping of upper right corner extending to first three pages; Volume 2 has 10.5 cm. dog-ear to lower right corner and 2.7 cm. dog-ear to verso corner; volume three has 2.5 cm. area of numeric embossment and bumping of bottom right corner. Contents of all volumes are otherwise clean and unmarked.