Von dem Buch The Third Hand: Collaboration In Art, From Conceptualism To Postmodernism haben wir 3 gleiche oder sehr ähnliche Ausgaben identifiziert!
Falls Sie nur an einem bestimmten Exempar interessiert sind, können Sie aus der folgenden Liste jenes wählen, an dem Sie interessiert sind:
100%: Green, Charles: The Third Hand: Collaboration In Art, From Conceptualism To Postmodernism (ISBN: 9780868405889) 2001, Erstausgabe, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
100%: Charles W. Green: Third Hand: Collaboration in Art from Conceptualism to Postmodernism (ISBN: 9780816637133) University of Minnesota Press, Vereinigte Staaten von Amerika, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
94%: Green, Charles: Third Hand: Collaboration in Art from Conceptualism to Postmodernism (ISBN: 9780816637126) University of Minnesota Press, in Englisch.Nur diese Ausgabe anzeigen…
The Third Hand: Collaboration In Art, From Conceptualism To Postmodernism
9 Angebote vergleichen
Bester Preis: € 21,13 (vom 29.06.2018)1
Symbolbild
The Third Hand: Collaboration in Art from Conceptualism to Postmodernism (2001)
EN PB US FEISBN: 9780868405889 bzw. 0868405884, in Englisch, University of New South Wales Press, Taschenbuch, gebraucht, Erstausgabe.
Lieferung aus: Neuseeland, Shipping costs to: USA.
Von Händler/Antiquariat, Booked.
Sydney: University of New South Wales Press, 2001. pp 246 includes index. Edgewear and rubbing at corners, some small creases to first few corners; otherwise clean & tight.'T studies associated with specific collaborative enterprises.'his is a clearly argued, original, and highly illuminating book that provides a genuinely new way of looking at contemporary art "on the cusp" as the author puts it, between modernism and postmodernism. The decision to focus on the notion of collaboration has been used to open up a series of fascinating cas. First Edition. Soft Cover. Good Plus - Very Good. 4to - over 9¾" - 12" Tall.
Von Händler/Antiquariat, Booked.
Sydney: University of New South Wales Press, 2001. pp 246 includes index. Edgewear and rubbing at corners, some small creases to first few corners; otherwise clean & tight.'T studies associated with specific collaborative enterprises.'his is a clearly argued, original, and highly illuminating book that provides a genuinely new way of looking at contemporary art "on the cusp" as the author puts it, between modernism and postmodernism. The decision to focus on the notion of collaboration has been used to open up a series of fascinating cas. First Edition. Soft Cover. Good Plus - Very Good. 4to - over 9¾" - 12" Tall.
2
The Third Hand: Collaboration In Art, From Conceptualism To Postmodernism (2001)
EN PBISBN: 9780868405889 bzw. 0868405884, in Englisch, UNSW Press Sydney 2001, Taschenbuch.
Von Händler/Antiquariat, THE CROSS Art + Books [2544790], Sydney, NSW, Australia.
25.5 x 18.0cms, 250pp, b/w Illusts, very good paperback This study of artistic collaboration telescopes onto the 'shift to a new understanding of artistic identity.[that has progressed towards] alternative and quite extreme authorial models'. It has chapters on Joseph Kosuth; Ian Burn, Mel Ramsden and Art & Language; the Boyle family; Anne & Patrick Poirier; Helen Mayer Harrison & Newton Harrison; Christo & Jeanne-Claude; Gilbert & George; Marina Abramovic & Ulay and others.
25.5 x 18.0cms, 250pp, b/w Illusts, very good paperback This study of artistic collaboration telescopes onto the 'shift to a new understanding of artistic identity.[that has progressed towards] alternative and quite extreme authorial models'. It has chapters on Joseph Kosuth; Ian Burn, Mel Ramsden and Art & Language; the Boyle family; Anne & Patrick Poirier; Helen Mayer Harrison & Newton Harrison; Christo & Jeanne-Claude; Gilbert & George; Marina Abramovic & Ulay and others.
3
The Third Hand: Collaboration in Art from Conceptualism to Postmodernism
EN NWISBN: 9780816637133 bzw. 081663713X, in Englisch, University of Minnesota Press, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, in-stock.
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples - like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay - who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples - like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay - who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
4
Third Hand: Collaboration in Art from Conceptualism to Postmodernism
~EN NWISBN: 9780816637133 bzw. 081663713X, vermutlich in Englisch, University of Minnesota Press, Vereinigte Staaten von Amerika, neu.
Lieferung aus: Kanada, En Stock, frais de port.
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
5
Third Hand
EN NWISBN: 9780816637133 bzw. 081663713X, in Englisch, University of Minnesota Press, Vereinigte Staaten von Amerika, neu.
The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
6
Third Hand: Collaboration in Art from Conceptualism to Postmodernism
ENISBN: 9780816637126 bzw. 0816637121, in Englisch, University of Minnesota Press.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd, zzgl. Versandkosten.
Third Hand: Collaboration in Art from Conceptualism to Postmodernism Green, Charles, The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
Third Hand: Collaboration in Art from Conceptualism to Postmodernism Green, Charles, The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
7
Third Hand: Collaboration in Art from Conceptualism to Postmodernism
EN NWISBN: 9780816637133 bzw. 081663713X, in Englisch, University of Minnesota Press, neu.
Lieferung aus: Kanada, Lagernd, zzgl. Versandkosten.
Charles Green, Books, Art and Architecture, Third Hand: Collaboration in Art from Conceptualism to Postmodernism, The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
Charles Green, Books, Art and Architecture, Third Hand: Collaboration in Art from Conceptualism to Postmodernism, The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
8
Third Hand : Collaboration in Art from Conceptualism to Postmodernism
EN PB USISBN: 9780816637133 bzw. 081663713X, in Englisch, University of Chicago Press, Taschenbuch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
9
The Third Hand: Collaboration in Art from Conceptualism to Postmodernism
EN PB NWISBN: 9780816637133 bzw. 081663713X, in Englisch, University of Minnesota Press, Taschenbuch, neu.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd.
The-Third-Hand~~Charles-Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, Paperback.
The-Third-Hand~~Charles-Green, The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, Paperback.
Lade…