ISBN: 9780816660964 - suzanne lacy: spaces between (27 resultados)

Paperback. Condición: Good. Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women?s consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. In this critical examination of Suzanne Lacy, Sharon Irish surveys Lacy?s art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body-or animal organs-to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events-including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis-and pioneered a new genre of public art. Irish investigates the spaces between art and life, self and other, and the body and physical structures in Lacy?s multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.…

Condición: Good. 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.

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

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

Paperback. Condición: Good. Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women?s consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. In this critical examination of Suzanne Lacy, Sharon Irish surveys Lacy?s art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body-or animal organs-to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events-including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis-and pioneered a new genre of public art. Irish investigates the spaces between art and life, self and other, and the body and physical structures in Lacy?s multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.…

Paperback. Condición: Good. Sticker residue on front cover Good paperback, bumped/creased with shelfwear; may have previous owner's name inside. Oversized.

Paperback. Condición: Very Good. Minimal shelf wear, clean internals. May have remainder mark.

Condición: New. Num Pages: 288 pages, 57 b&w illustrations. BIC Classification: AGB. Category: (G) General (US: Trade). Dimension: 263 x 181 x 19. Weight in Grams: 632. 2010. paperback. . . . . Books ship from the US and Ireland.

Condición: New. Num Pages: 288 pages, 57 b&w illustrations. BIC Classification: AGB. Category: (G) General (US: Trade). Dimension: 263 x 181 x 19. Weight in Grams: 632. 2010. paperback. . . . .

paperback. Condición: 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.

Condición: New. Brand New.

Paperback. Condición: Fine. Color and black and white photographs. First paperback printing. Fine in pictorial wraps.

Paperback. Condición: Fine. 1st. xvii, 266 pages, [8] pages of plates, illustrations (some colour); 27 cm. Firm binding, clean inside copy. *** "Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women's consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. In this critical examination of Suzanne Lacy, Sharon Irish surveys Lacy's art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body--or animal organs--to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events--including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis--and pioneered a new genre of public art. Irish investigates the spaces between art and life, self and other, and the body and physical structures in Lacy's multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships." - Publisher. *** CONTENTS: Visceral beginnings; Embodied networks; The urban stage; Convergences; We make the city, the city makes us; Turning point; Teens and violence. Size: 4to. Collectible.…

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

Condición: As New. Unread book in perfect condition.

Condición: New.

Paperback. Condición: New. Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women's consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. In this critical examination of Suzanne Lacy, Sharon Irish surveys Lacy's art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body-or animal organs-to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events-including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis-and pioneered a new genre of public art. Irish investigates the spaces between art and life, self and other, and the body and physical structures in Lacy's multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.…

Illustrated. 18 x 25 cm. 288 pages. SC Versand aus Deutschland / We dispatch from Germany via Air Mail. Einband bestoßen, daher Mängelexemplar gestempelt, sonst sehr guter Zustand. Imperfect copy due to slightly bumped cover, apart from this in very good condition. Stamped. Sprache: Englisch.

Paperback. Condición: Brand New. 288 pages. 9.75x7.00x0.75 inches. In Stock.

Condición: New. In English.

Condición: New.

Paperback / softback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: As New. Unread book in perfect condition.

Condición: Good. 4to. Hardcover. 267 pp. Half and Half Color and B&W Plates. Very Good.

Taschenbuch. Condición: Neu. Neuware - Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use womens consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. …

Condición: New. KlappentextrnrnOften controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to ass.

Paperback. Condición: New. Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women's consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people. In this critical examination of Suzanne Lacy, Sharon Irish surveys Lacy's art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body-or animal organs-to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events-including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis-and pioneered a new genre of public art. Irish investigates the spaces between art and life, self and other, and the body and physical structures in Lacy's multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.…