Simon Starling (169 results)

Hardcover. Condition: Very Good. 1st Edition. Hardcover, no dj (as issued). 55 pgs. 9" x 6.5". Published to accompany a touring exhibition at the Camden Arts Centre November 10, 2000 - January 14, 2001 and at the John Hansard Gallery March 27 - May 12, 2001. Very light corner wear, else fine.

HARDCOVER. Condition: As New. Hardcover edition. as new, small quarto green cloth hardcover, original shrink-wrapped.

paperback. Condition: Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Condition: New.

Condition: New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books.

Hardcover. Condition: VG-. Dust Jacket Condition: Good. used trade paperback in a dust jacket. jacket is slightly worn about the edges, but with no tears and not price clipped. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws.

Condition: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Clean from markings. In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9781900470155.…

Paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE PAPERBACK Standard-sized.

Condition: As New. Unread book in perfect condition.

Softcover, 72 pages, very good condition, small bump to spine; no internal marks. Foreign shipping may be extra.

hardcover. Condition: Good. HARDCOVER 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 Oversized.

Hardcover. Condition: new. Hardcover. Recent multimedia projects by Simon Starling on hidden histories and unlikely connectionsPublished for British artist Simon Starlings (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artists multimedia, research-based art from the last decade, contextualized by new essays. Recent multimedia projects by Simon Starling on hidden histories and unlikely connections Shipping may be from multiple locations in the US or from the UK, depending on stock availability. …

Condition: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,400grams, ISBN:0954202600.…

Hardback. Condition: New. Recent multimedia projects by Simon Starling on hidden histories and unlikely connectionsPublished for British artist Simon Starling's (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artist's multimedia, research-based art from the last decade, contextualized by new essays.…

Paperback. Condition: Fine. Dust Jacket Condition: Very Good. 1st. (UK) Presumed 1st edition, No markings, Fine in Very Good dust jacket with 1" tear and crease to top edge of back cover. Wraps, 160pp, colour and B&W photos. This is the first comprehensive monograph on the Turner-Prize-winning artist. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph.(2.9 JM LVR 202/5 Size: 4to - over 9¾ - 12" Tall.…

Hardcover without dustjacket as issued, 60 pages; in English; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Hardback. Condition: New. Recent multimedia projects by Simon Starling on hidden histories and unlikely connectionsPublished for British artist Simon Starling's (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artist's multimedia, research-based art from the last decade, contextualized by new essays.…

Paperback. Condition: Used: Good. ENGLISH/GERMAN. Simon Starling, Smith/Stewart; Good to VG overall, no marks; no creases; interior is VG; art gallery exhibition catalog.

Condition: New.

Softcover. 140 pages. Exhibition catalog for a show that ran June 7 through November 2, 2014. Foreword by Madeleine Grynsztejn. Essays by Dieter Roelstraete, Janine Mileaf, and Mark Godfrey. Includes numerous illustrations. A very fine copy in wrappers. An as new copy and still in the publisher's shrinkwrap.…

Condition: Very Good. Great shape! Has a publisher remainder mark. paperback Used - Very Good 2012.

Condition: Used - Very Good. VG hardback. Bilingual. 2016 1st edition to accompany an exhibition; numeropus colour illustrations; tightly bound in green cloth with white lettering to front and spine; a very clean, tidy copy - almost as new. Used - Very Good. VG hardback.

Paperback. Condition: Very Good. None. Minor shelf wear; bottom corner of rear wrap creased. Else a bright, clean copy. When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals. Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the São Paulo Biennial (2005). Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling's work, examining circularity and serendipity and the their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord's Focus scrutinizes Wilhelm Noack oHG (2006) as an example of material cinema. Artist's Choice is a extract from Flann O'Brien's 1996 novel The Third Policeman, a fantastical conversation about bicycles swapping atoms with their riders. Artists Writings include five project statements, all of which consist, in varying proportions, of history, science and speculative fiction. . …

Paperback. Condition: Very Good. None. Minor shelf wear; light crimping at corners of wraps. Else a bright, clean copy. When Marcel Duchamp shipped Constantin Brancusi's sculpture Bird in Space to Edward Steichen in 1926, New York customs officials refused to accept that it was a work of art, instead levying the standard import tariff for a manufactured object. A legal battle ensued, with the courts eventually declaring Bird in Space an artwork and therefore exempt from the tariff. Seventy-eight years later, visitors to Simon Starling's exhibition at New York's Casey Kaplan Gallery were confronted with Staling's own Bird in Space (2004): a two-ton slab of steel from Romania (Brancusi's country of origin) leaning against the gallery wall and propped up on three inflatable cushions. The United States had recently introduced a new import tax of twenty per cent on foreign metals, which Starling circumvented by labelling this unaltered chunk of European steel a work of art. Its plinth of cushioned air not only introduced a second, more representational valance to the work but also brought to bear the traditional sculptural parameters of weight, gravity and balance. Starling's art frequently traffics in deception. It also traffics in traffic, meaning the circulation of goods, knowledge and people (usually the artist himself). Many of his works circle back on themselves, taking an idea on a journey that ends at its point of origin. Wilhelm Noack oHG (2006), for example, is an elaborate helical steel structure designed to loop a thirty-five-millimetre film of the workshop in which it was fabricated. The circuitous path that the film takes through the towering metal structure is the perfect visual metaphor for the work's own circular logic, a self-regulating system that adds up to much more than the sum of its parts. Starling is a key figure in one of contemporary art's most significant recent developments: the linking of artistic practice and knowledge production. Although this tendency flourished with Conceptual art in the 1960s and 1970s, in recent years it has taken on a new intensity. Unlike the Conceptual artists, however, many of whom strove for a language-based dematerialized art, for Starling the object is always at the work's heart. Economies, ecologies, coincidences and convergences are all simply means to an end - although 'simply' may be the wrong word to describe the transformation of thousands of miles of travel and hundreds of years of history into a single sculpture, film or photograph. Starling's other predecessors are the Land artists, such as Robert Smithson, with whom he shares a fascination with entropy and other natural forces. But he is truly an artist of the current age, setting out to understand and illustrate the complex processes through which the natural and human-made realms interact. The five platinum/palladium prints that constitute One Ton (2005) show a single view of a South African platinum mine. Together the five prints contain the precise amount of platinum salts that can be derived from one ton of ore, succinctly illustrating the enormous amount of energy required in the extraction of precious metals. Born in England in 1967 and now living in Denmark, Starling has been the subject of solo exhibitions at museums around the world, including the Hiroshima City Museum of Art (2011), Kunstmuseum Basel (2005) and the Museum of Contemporary Art in Sydney (2002), and his work has been featured in major international group shows, such as the Venice Biennale (2009), the Moscow Biennial (2007) and the São Paulo Biennial (2005). Awards include the Turner Prize (2005), the Blinky Palermo Prize (1999) and the Paul Hamlyn Foundation Award for Artists (1999). In the Survey, Dieter Roelstraete presents a comprehensive overview of Starling's work, examining circularity and serendipity and the their relationship to historical research. For the Interview, Francesco Manacorda and the artist discuss the central role of time in his work. Janet Harbord's Focus scrutinizes Wilhelm Noack oHG (2006) as an example of material cinema. Artist's Choice is a extract from Flann O'Brien's 1996 novel The Third Policeman, a fantastical conversation about bicycles swapping atoms with their riders. Artists Writings include five project statements, all of which consist, in varying proportions, of history, science and speculative fiction. . …

Condition: Very good. From the Library of Tim Llewellyn, OBE.

Hardcover without dustjacket as issued, 136 pages; in English and French; as new condition, clean and crisp; no internal marks. Foreign shipping may be extra.

Softcover, 112 pages, in English and German; good condition; tears to covers around spine; long crease to top of rear cover; no internal marks. Foreign shipping may be extra.

Two softcover books with dustjackets in printed slipcase; 68 pages each; in English and German; very good condition; small tear to dj of one book at bottom of spine; overall clean and crisp; no internal marks. Foreign shipping may be extra.

Paperback. Condition: Fine. Small Qto., 60 pages, colour illustrated. A Fine copy.

Softcover; articles by and on: Simon Starling, Diane Arbus, Marc Camille Chaimowicz, Emily Jacir; very good condition, clean and crisp; no internal marks. Foreign shipping may be extra.