Harald szeeman (43 resultados)

paperback. Condición: Very Good.

Paperback. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

softcover. Condición: Fine copy. 1st. 4to, 256 pp. Profusely illustrated (ilustrador).

Wrappers. Condición: Near Fine. 143 pages. Paperback. Texts in Italian and English. 72 illustrations 52 in color. A minor scratch to the back cover, otherwise fine. Book.

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.

Condición: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Condición: Very Good. softcover, very good . - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

paperback. Condición: 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.…

First Edition. First edition. Softcover. 57 pages. Exhibition catalog for a show that ran October 11 through November 30, 1986. Features the text of a Suzanne Page's interview of Laib and an essay by Harald Szeeman with both in Engligh and French. Includes numerous color illustrations, a checklist, list of previous exhibitions, and a selected bibliography. A clean near fine copy in wrappers. …

paperback. Condición: Good. Minor yellowing on edges of pages. General shelf wear. Pages: 152.

Softcover, 346 pages, in German; POOR condition; heavy warp to all pages; pages starting to loosen from spine; bump to lower right corner of first few pages; no internal marks. As is; reference copy. Foreign shipping may be extra .

Soft cover. Condición: Very Good. A clean copy.

Condición: Collectible; Very Good. [2 VOLUME SET] Marsilio, Venice, Italy: Venice Biennale, 1999. Two softcover volumes (all issued) in pictorial wraps. ISBN: 882080414X. 287 and 486 pages illustrated throughout with color plates and in-text photos. The ENGLISH EDITION of 1999 Biennale Catalogue. Minor corner bumping/shelf-wear else very good overall condition; no owner marking, NOT EX-LIBRARY. (cw). …

paperback. Condición: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

Softcover. Condición: Very Good. 2001 Softcover Edition. Text is in German & English. Corner crease to pg. 25.Light handling wear to cover. Pages clean & unmarked. NO Expedited shipping.

Softcover, 148 pages, very good condition, no internal marks, clean and crisp, in English and Japanese, color and b/w reproductions, illustrations, drawings. Shipping may be extra for this large, heavy book.

Softcover. English. 2 vols., black & white & illus. wraps, paper slipcase, 415, 295 pp., many illus., chiefly in color, set weighs 7.5 lbs. Text is in English. Issued in conjunction with a 2001 exhibition in Venice. The unifying theme of the exhibit was "the plateau of humankind." Editor Harald Szeemann maintains that this concept "is not a theme but rather a dimension. Let us take a wider view." (p. xvii) Essays: The Plateau of Friendship, Critique of Truth! Problems unite more than beliefs / Bazon Brock -- The timeless, grand narration of human existence in its time / Harald Szeemann. The second volume is arranged by participating country. G (Ex-library, with spine labels on books and bookplates inside front covers, few marks, slipcase is well worn at corners with tears, books are slightly bent at bottom corner from not sitting on previous shelf straight, but contents are unaffected.).…

Soft Cover. Condición: Very Good. This is a very good softcover copy with just light wear. Completely clean inside and out. Text in Spanish, Catalan and English. Curated by Harald Szeeman. Illustrated mostly in color. Exhibition checklist. Bibliography. 12" high X 10" wide, 260 pages. This book will be securely wrapped and shipped with tracking.…

paperback. Condición: Very Good. Second edition, July, 1999. Please note that the cover is pinkish/red, and not yellow as one featured. ISBN same as one featured. Text is in English. Interior unmarked. pages clean. Minor surface wear on covers. Paperback. (1HDL).

407, (1), 287, (13) S. Ill. Orig.-Broschuren. - Rücken von Band 1 mit Lesespuren; Buchblock etwas schiefgelesen. Ansonsten gut erhaltene Exemplare. Innen sauber. - Achtung: Bei Auslandsversand bitte Portokosten erfragen (höheres Gewicht)! - Beiliegend einige Zeitungsartikel zur Ausstellung.

Trade Paperback. Condición: Used - Good. 2 volume set. Slight scratching/scuffing on cover. Book has minor shelf wear.

Jul 01, 1999. Condición: D'occasion - Très bon état. 2 volumes. Proche de l'état neuf. Envoi rapide et soigné en colissimo pour la France métropolitaine. Pour l'étranger, il faudra un envoi en colissimo, et donc ajouter pour les frais de port 18 euros en zone A, 23 en zone B, 45 en zone C et 62 en zone D.…

Brossura. Condición: ottimo. Un volume (25x31 cm) di 345 pagine, con 147 illustrazioni a colori e 16 in bn. Testo in lingua tedesca. Catalogo della mostra Zürich, 5. Juni - 23. August 1987. Frankfurt am Main, 24. September - 10. Januar 1988. Brossura editoriale illustrata. Testo in tedesco. Ottime condizioni.…

Paperback. Condición: Very Good. In a Very Good semi-transparent wrapper, with a little creasing and a few slight tears at edges. 300 x 240 mm. 264 pp. Catalogue for the Universal Forum of Cultures - Barcelona 2004 exhibition, on the often pessimistic relationship between art and utopia from the 19th century to the present. Parallel Catalan-Spanish-English text. Well illustrated. Book.…

Soft cover. Condición: Very Good. 1st Edition. 2 4to soft cover volumes in illustrated paper wraps. Spines and wraps tight and good. One volume has a corner bend top right. No markings contents very clean. 407 and 287 pages. 8 lbs. In English.

paperback. Condición: near fine. Illustrated with 119 plates, including 100 color plates of drawings and paintings, and 19 black-and-white plates depicting Twombly's sculptures. 239 pages. 4to, white pictorial wrappers. Paris: Centre Georges Pompidou, 1988. A near fine copy. Text in French. TWOMBLY, Cy (ilustrador). …

First US edition. 4to. 295 pp. Fine in fine dust jacket. 139 color plates and 59 black-and-white illustrations.

Soft cover. Condición: Fine. Octavo, 72 pages + 7 plates in black and white + 10 ?schémas? printed in red. Illustrated wrappers. Near mint. - First edition. One of 500 copies. Ssome ?corrections? (in pen) and some lines in the margins (in pencil) ? most probably by Thomas Deecke. Summary: avertissements au lecteur; introduction; à l'abri; dans certains lieux; comme une poubelle; à ces papillons exotiques; pour s'« intercaler »; détourner les regards; espaces « blancs »; brouiller les cartes; le maître d'?uvre; deuxième étape; première étape; des raisons stratégiques; remarques; lecture I; lecture II; lecture III; lecture fallacieuse; blanc sur blanc sur mur; le microscope; comme un signal quelque part sur un mur; objet spéculaire; la vue d'ensemble; transgresser l'autorité; il reste beaucoup à dire; dissident. Text on rear cover (here in translation): ?Exhibitions of an exhibition More and more, the subject of an exhibition tends not be the display of artworks, but the exhibition of the exhibition as a work of art. Here, the Documenta team, headed by Harald Szeemann, exhibits (artworks) and exposes itself (to critiques). The works presented are carefully chosen touches of color in the tableau* that composes each section (room) as a whole. There is even an order to these colors, these being defined and arranged according to the drawn design** of the section (selection) in which they are spread out/presented. These sections (castrations), themselves carefully chosen ?touches of color? in the tableau that makes up the exhibition as a whole and in its very principle, only appear by placing themselves under the wing of the organizer, who reunifies art by rendering it equivalent everywhere in the case/screen that he prepares for it. The organizer assumes the contradictions; it is he who safeguards them. It is true, then, that the exhibition establishes itself as its own subject, and its own subject as a work of art. The exhibition is the ?valorizing receptacle? in which art is played out and founders, because even if the artwork was formerly revealed thanks to the museum, it now serves as nothing more than a decorative gimmick for the survival of the museum as tableau, a tableau whose author is none other than the exhibition organizer. And the artist throws her- or himself and her or his work into this trap, because the artist and her or his work, which are powerless from the force of habit of art, have no choice but to allow another to be exhibited: the organizer. Hence, the exhibition as a tableau of art, as the limit of the exhibition of art. Thus, the limits art has created for itself, as shelter, turn against it by imitating it, and the refuge that the limits of art had constituted are revealed as its justification, reality, and tomb. D. B. February, 1972. …