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100%: Welchman, John: Art After Appropriation: Essays on Art in the 1990s (ISBN: 9789057010439) Erstausgabe, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
100%: John C. Welchman: ART AFTER APPROPRIATION (ISBN: 9781138139237) in Englisch, Broschiert.Nur diese Ausgabe anzeigen…
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Art After Appropriation: Essays on Art in the 1990s
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1
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Art After Appropriation: Essays on Art in the 1990s
~ENISBN: 9789057010439 bzw. 9057010437, vermutlich in Englisch.
Lieferung aus: Vereinigte Staaten von Amerika, Shipping costs to: GBR.
Von Händler/Antiquariat, Blue Vase Books LLC.
UsedGood. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.
Von Händler/Antiquariat, Blue Vase Books LLC.
UsedGood. The item shows wear from consistent use, but it remains in good condition and works perfectly. All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May NOT include discs, access code or other supplemental materials.
2
Art After Appropriation (1989)
EN PB NWISBN: 9789057010439 bzw. 9057010437, in Englisch, Gordon and Breach, Taschenbuch, neu.
Essays on Art in the 1990s, Beginning with an account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, this study creates a matrix of inflections and refusals around the culture of taking. Author John C. Welchman shows how the second-world culture of the USSR gave rise to new visibility for photography at the Union's dissolution in 1989, and explores how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. It also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation.
3
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Art after Appropriation : Essays on Art in The 1990s (2001)
~EN PB USISBN: 9789057010439 bzw. 9057010437, vermutlich in Englisch, Routledge, Taschenbuch, gebraucht, guter Zustand.
Lieferung aus: Vereinigte Staaten von Amerika, Shipping costs to: GBR.
Von Händler/Antiquariat, ThriftBooks.
Routledge, 2001. Paperback. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.Dust jacket quality is not guaranteed.
Von Händler/Antiquariat, ThriftBooks.
Routledge, 2001. Paperback. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.Dust jacket quality is not guaranteed.
4
ART AFTER APPROPRIATION (2016)
~EN HC NW RPISBN: 9781138139237 bzw. 1138139238, vermutlich in Englisch, Taylor & Francis, gebundenes Buch, neu, Nachdruck.
Lieferung aus: Deutschland, Versandkostenfrei.
Von Händler/Antiquariat, moluna [73551232], Greven, Germany.
Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. John C. WelchmanBeginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the c. Books.
Von Händler/Antiquariat, moluna [73551232], Greven, Germany.
Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. John C. WelchmanBeginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the c. Books.
5
ART AFTER APPROPRIATION: Essays on Art in the 1990s (2003)
~EN PB USISBN: 9789057010439 bzw. 9057010437, vermutlich in Englisch, Overseas Publishers Association / G&B Arts International, London, Taschenbuch, gebraucht, guter Zustand.
Von Händler/Antiquariat, Brian Cassidy Books at Type Punch Matrix [4749676], Silver Spring, MD, U.S.A.
Critical history of appropriation as an artistic paradigm. Includes index. Illustrated in black and white. Wraps. Small 4to. Pictorial wraps. Light edgewear, some creasing to corners. Very good plus. Books.
Critical history of appropriation as an artistic paradigm. Includes index. Illustrated in black and white. Wraps. Small 4to. Pictorial wraps. Light edgewear, some creasing to corners. Very good plus. Books.
6
Symbolbild
Art After Appropriation: Essays on Art in the 1990s
~EN USISBN: 9789057010439 bzw. 9057010437, vermutlich in Englisch, Routledge, gebraucht, guter Zustand.
Lieferung aus: Vereinigte Staaten von Amerika, Shipping costs to: GBR.
Von Händler/Antiquariat, SecondSale.
Routledge. Used - Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc...
Von Händler/Antiquariat, SecondSale.
Routledge. Used - Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc...
7
Art After Appropriation: Essays On Art In The 1990s
EN NWISBN: 9781138139237 bzw. 1138139238, in Englisch, Taylor and Francis, neu.
Lieferung aus: Kanada, In Stock, plus shipping.
John C. Welchman, Books, Art and Architecture, Art After Appropriation: Essays On Art In The 1990s, Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich.
John C. Welchman, Books, Art and Architecture, Art After Appropriation: Essays On Art In The 1990s, Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich.
8
Art After Appropriation (1999)
EN HC NWISBN: 9781138139237 bzw. 1138139238, in Englisch, Taylor & Francis Ltd, gebundenes Buch, neu.
Essays on Art in the 1990s, Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.
John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich.
9
Art after Appropriation : Essays on Art in the 1990s by (1999)
~EN USISBN: 9789057010439 bzw. 9057010437, vermutlich in Englisch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock, plus shipping.
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich.
Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich.
10
Art After Appropriation: Essays on Art in the 1990s (2001)
EN PB NW FEISBN: 9789057010439 bzw. 9057010437, in Englisch, 312 Seiten, Routledge, Taschenbuch, neu, Erstausgabe.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, TOTAL BOOKS.
Beginning with the first comprehensive account of the discourse of appropriation that ***ted the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich, Paperback, Ausgabe: 1, Label: Routledge, Routledge, Produktgruppe: Book, Publiziert: 2001-09-14, Studio: Routledge, Verkaufsrang: 1310650.
Von Händler/Antiquariat, TOTAL BOOKS.
Beginning with the first comprehensive account of the discourse of appropriation that ***ted the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium. John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich, Paperback, Ausgabe: 1, Label: Routledge, Routledge, Produktgruppe: Book, Publiziert: 2001-09-14, Studio: Routledge, Verkaufsrang: 1310650.
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