dumett mari (25 resultados)

Condición: 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.

Hardcover without dustjacket as issued, 244 pages; in English and German; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Condición: Gebraucht - Gut. GEBUNDENE AUSGABE - MINIMALE LAGERSPUREN AM EINBAND (LEICHTE KRATZER) - SEHR GUTER ZUSTAND - T - H4.

Condición: Acceptable. Item in acceptable condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condición: As New. Unread book in perfect condition.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. 2017. First. Hardcover. . . . . .

Condición: New.

Hardback. Condición: New. The first extended study of the renowned artists' collective Fluxus, Corporate Imaginations examines the group's emergence on three continents from 1962 to 1978, and its complexities, contradictions, and historical specificity. Its founder, George Maciunas, organized Fluxus like a multinational corporation, simulating corporate organization and commodity flows, a reflection of how he imagined critical art practice at that time. Despite the collective's critical stance toward the corporation, Fluxus shared aspects of the rising corporate culture of the day. In this book, Mari Dumett addresses the "business" of Fluxus and explores the larger discursive issues of organization, mediatization, routinization, automation, commoditization, and systematization that Fluxus artists both manipulated and exposed in bold relief. A study of six central figures in the group-George Brecht, Alison Knowles, Maciunas, Nam June Paik, Mieko Shiomi, and Robert Watts,-reveals how they developed historically specific strategies of mimicking the capitalist system.These artists appropriated tools, occupied spaces, revealed operations, and, ultimately, "performed the system" itself by employing an aesthetics of organization, communication, events, branding, routine, and global mapping. Invoking "corporate imaginations," Fluxus artists proposed "strategies for living" as conscious creative subjects within a totalizing and increasingly global system, and demonstrated how these strategies must be repeated in an ongoing negotiation of new relations of power and control between subject and system.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardback. Condición: New. The first extended study of the renowned artists' collective Fluxus, Corporate Imaginations examines the group's emergence on three continents from 1962 to 1978, and its complexities, contradictions, and historical specificity. Its founder, George Maciunas, organized Fluxus like a multinational corporation, simulating corporate organization and commodity flows, a reflection of how he imagined critical art practice at that time. Despite the collective's critical stance toward the corporation, Fluxus shared aspects of the rising corporate culture of the day. In this book, Mari Dumett addresses the "business" of Fluxus and explores the larger discursive issues of organization, mediatization, routinization, automation, commoditization, and systematization that Fluxus artists both manipulated and exposed in bold relief. A study of six central figures in the group-George Brecht, Alison Knowles, Maciunas, Nam June Paik, Mieko Shiomi, and Robert Watts,-reveals how they developed historically specific strategies of mimicking the capitalist system.These artists appropriated tools, occupied spaces, revealed operations, and, ultimately, "performed the system" itself by employing an aesthetics of organization, communication, events, branding, routine, and global mapping. Invoking "corporate imaginations," Fluxus artists proposed "strategies for living" as conscious creative subjects within a totalizing and increasingly global system, and demonstrated how these strategies must be repeated in an ongoing negotiation of new relations of power and control between subject and system.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. 2017. First. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condición: New.

Condición: very good. Gently used. May include previous owner's signature or bookplate on the front endpaper, sticker on back and/or remainder mark on text block.

Hardcover. 244 S. Ehem. Bibliotheksexemplar mit Signatur und Stempel. GUTER Zustand, kaum Gebrauchsspuren. Ex-library with stamp and library-signature. GOOD condition, few traces of use. K01640 9783866783546 Sprache: Englisch Gewicht in Gramm: 1150.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condición: Brand New. 386 pages. 10.00x7.00x0.75 inches. In Stock.

Couverture rigide. Condición: Neuf. Estado de la sobrecubierta: Neuf. Edition originale. Au cours de toute sa carrière, Robert Rauschenberg n'a dédié des uvres qu'à cinq autres artistes : John Cage, Merce Cunningham, Marcel Duchamp, Jasper Johns et l'artiste suisse Jean Tinguely. Les pratiques de Tinguely et Rauschenberg, tous deux nés en 1925, se sont croisées cinétiquement pendant quelques années charnières au début des années 1960. Lors d'une exposition en 1960 au Museum of Modern Art de New York, quelques semaines seulement après l'arrivée de Tinguely à New York pour la première fois, l'artiste suisse a présenté « Hommage à New York », une masse de métal autodestructrice à laquelle Rauschenberg a contribué avec un grille-pain qui lançait des dollars en argent sur le public. Les deux hommes s'associent sur plusieurs projets plus artistiques, malgré leurs différences esthétiques : Rauschenberg fait remarquer un jour de Tinguely : « Il aimait les choses mécaniques comme les moteurs ; Je préférais les choses hédonistes comme les baignoires. Robert Rauschenberg & Jean Tinguely : Collaborations documente cette amitié féconde.----------------------- "Il est malsain de ne mijoter que dans son propre jus, c'est pourquoi je dois travailler avec les autres - cela m'empêche de devenir gros et complaisant. Collaborer avec les autres détourne l'attention de votre propre personne (et avouons-le :) Une vie passée avec personne d'autre que soi-même peut devenir assez fastidieuse.------------------------------ L'image de couverture, de Niki de Saint Phalle, Robert Rauschenberg et Jean Tinguely, est reproduite de Robert Rauschenberg & Jean Tinguely : Collaborations .

Hardback. Condición: New. The first extended study of the renowned artists' collective Fluxus, Corporate Imaginations examines the group's emergence on three continents from 1962 to 1978, and its complexities, contradictions, and historical specificity. Its founder, George Maciunas, organized Fluxus like a multinational corporation, simulating corporate organization and commodity flows, a reflection of how he imagined critical art practice at that time. Despite the collective's critical stance toward the corporation, Fluxus shared aspects of the rising corporate culture of the day. In this book, Mari Dumett addresses the "business" of Fluxus and explores the larger discursive issues of organization, mediatization, routinization, automation, commoditization, and systematization that Fluxus artists both manipulated and exposed in bold relief. A study of six central figures in the group-George Brecht, Alison Knowles, Maciunas, Nam June Paik, Mieko Shiomi, and Robert Watts,-reveals how they developed historically specific strategies of mimicking the capitalist system.These artists appropriated tools, occupied spaces, revealed operations, and, ultimately, "performed the system" itself by employing an aesthetics of organization, communication, events, branding, routine, and global mapping. Invoking "corporate imaginations," Fluxus artists proposed "strategies for living" as conscious creative subjects within a totalizing and increasingly global system, and demonstrated how these strategies must be repeated in an ongoing negotiation of new relations of power and control between subject and system.

Hardback. Condición: New. The first extended study of the renowned artists' collective Fluxus, Corporate Imaginations examines the group's emergence on three continents from 1962 to 1978, and its complexities, contradictions, and historical specificity. Its founder, George Maciunas, organized Fluxus like a multinational corporation, simulating corporate organization and commodity flows, a reflection of how he imagined critical art practice at that time. Despite the collective's critical stance toward the corporation, Fluxus shared aspects of the rising corporate culture of the day. In this book, Mari Dumett addresses the "business" of Fluxus and explores the larger discursive issues of organization, mediatization, routinization, automation, commoditization, and systematization that Fluxus artists both manipulated and exposed in bold relief. A study of six central figures in the group-George Brecht, Alison Knowles, Maciunas, Nam June Paik, Mieko Shiomi, and Robert Watts,-reveals how they developed historically specific strategies of mimicking the capitalist system.These artists appropriated tools, occupied spaces, revealed operations, and, ultimately, "performed the system" itself by employing an aesthetics of organization, communication, events, branding, routine, and global mapping. Invoking "corporate imaginations," Fluxus artists proposed "strategies for living" as conscious creative subjects within a totalizing and increasingly global system, and demonstrated how these strategies must be repeated in an ongoing negotiation of new relations of power and control between subject and system.

Hardcover. Condición: Very Good. Very Good. Dust Jacket may NOT BE INCLUDED.CDs may be missing. SHIPS FROM MULTIPLE LOCATIONS. book.

Hardcover. Condición: New.

Hardcover. Condición: Sehr gut. 1. Auflage. Z : 244 pages with 59 colored and 101 b/w illustrations - When Jean Tinguely went to New York for the first time in 1960, his reputation as an iconoclast went before him. He soon presented his "suicidal machine", Homage to New York, which included a contribution from Robert Rauschenberg: Money Thrower for Jean Tinguely's H.T.N.Y. his first kinetic object. This was intended as a talisman and heralded many years of collaboration between the two artists who wanted to re-unite art with life and whose collaborative work aimed to overcome the restricted nature of the individual artist and to achieve greater artistic freedom. This catalogue documents the collaborative projects and friendship of Tinguely and Rauschenberg, who created a new arena for art where Neo- and Meta-Dadaists, Absurdistan, tongue-in-cheek wit and a critical and analytical incisiveness came together.