Isbn: 9783905701531 - valentin carron (6 resultados)

Condición: Very Good. Very Good condition. Good dust jacket. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Hardcover with dustjacket, 64 pages; in English; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Hardcover. Condición: Fine. 1st edition. Fine book in publishers shrink wrap. 4to., full color illustrated boards. This first monograph for a promising Swiss artist arrives during the year of his first New York and London solo shows. Carron's sculptures have been said to mark a renewal of appropriationist discourse. Neither authentic nor kitsch, readymade nor craft, these objects enjoy ambiguity (fake wood, bronze and concrete) and an iconography of power and authority (in traditional forms like public sculptures and commemorative monuments). Valentin Carron (ilustrador).…

Hardcover. Condición: Used: Good. Hardcover in DUST JACKET, as issued. Jacket is edgeworn; book is like new. NO marks or writing in a book. Collectible in this state.

Hardcover. Condición: Sehr gut. 1. Auflage. Z : 20,5 x 29 cm, Hardcover, 64 pages, 40 colour illustrations - First monograph Valentin Carron s sculptures mark a renewal of appropriationist discourse: through the re-employment of vernacular forms that are not part of the dominant culture, the artist develops a project confusing genres. Neither authentic nor kitsch, not readymade nor really craft, these objects play with ambiguity (fake wood, fake concrete, fake bronze, etc.) and with an iconography of power and authority (public sculptures or commemorative monuments, traditional forms, etc.). Alongside several artists such as Andro Wekua, Mai-Thu Perret, and Vidya Gastaldon, Valentin Carron (*1975) marks the emergence of a new artistic scene in Switzerland. Published with the Centre d art contemporain, Geneva, and Kunsthalle Zurich.…

Hardcover. Condición: New. This first monograph for a promising Swiss artist arrives during the year of his first New York and London solo shows. Carron's sculptures have been said to mark a renewal of appropriationist discourse. Neither authentic nor kitsch, readymade nor craft, these objects enjoy ambiguity (fake wood, bronze and concrete) and an iconography of power and authority (in traditional forms like public sculptures and commemorative monuments). Along with a group of new Swiss artists speeding through the early stages of critical recognition, including Andro Wekua, Vidya Gastaldon and Mai-Thu Perret, Carron's rise marks the emergence of a new Swiss scene.…