Cindy Sherman: Volume 6 (October Files, 6) - 8 Angebote vergleichen
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Cindy Sherman; Essays by Craig Owens, Douglas Crimp, Judith Williamson, Abigail Solomon-Godeau, Laura Mulvey, Norman Bryson, Rosalind Krauss, Kaja Silverman, Hal Foster, and (Publisher series: October Files.) (2006)
~EN PBISBN: 9780262524636 bzw. 0262524635, vermutlich in Englisch, MIT Press 978-0-262-52463-6, Taschenbuch.
Lieferung aus: Kanada, Versandkosten nach: DEU.
Von Händler/Antiquariat, Burton Lysecki Books, ABAC/ILAB.
Cambridge: MIT Press 978-0-262-52463-6 [978-0-262-52463-6] 2006. (Trade paperback) 222pp. Very good plus. Photographs, notes, index. The bottom edge is lightly soiled. "With her Untitled Film Stills series of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres have offered a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began -- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others". Publisher series: October Files 6. (Art History, Art Criticism, Art Theory, Essays, Feminism, Mass Media, Photography).
Von Händler/Antiquariat, Burton Lysecki Books, ABAC/ILAB.
Cambridge: MIT Press 978-0-262-52463-6 [978-0-262-52463-6] 2006. (Trade paperback) 222pp. Very good plus. Photographs, notes, index. The bottom edge is lightly soiled. "With her Untitled Film Stills series of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres have offered a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began -- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others". Publisher series: October Files 6. (Art History, Art Criticism, Art Theory, Essays, Feminism, Mass Media, Photography).
2
Symbolbild
Cindy Sherman; Essays by Craig Owens, Douglas Crimp, Judith Williamson, Abigail Solomon-Godeau, Laura Mulvey, Norman Bryson, Rosalind Krauss, Kaja Silverman, Hal Foster, and (Publisher series: October Files.) (2006)
~EN PBISBN: 9780262524636 bzw. 0262524635, vermutlich in Englisch, MIT Press 978-0-262-52463-6, Taschenbuch.
Lieferung aus: Kanada, Versandkosten nach: DEU.
Von Händler/Antiquariat, Burton Lysecki Books, ABAC/ILAB.
Cambridge: MIT Press 978-0-262-52463-6 [978-0-262-52463-6] 2006. (Trade paperback) Very good plus. 222pp. Photographs, notes, index. The bottom edge is lightly soiled. "With her Untitled Film Stills series of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres have offered a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began -- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others". Publisher series: October Files 6. (Art History, Art Criticism, Art Theory, Essays, Feminism, Mass Media, Photography).
Von Händler/Antiquariat, Burton Lysecki Books, ABAC/ILAB.
Cambridge: MIT Press 978-0-262-52463-6 [978-0-262-52463-6] 2006. (Trade paperback) Very good plus. 222pp. Photographs, notes, index. The bottom edge is lightly soiled. "With her Untitled Film Stills series of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres have offered a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began -- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others". Publisher series: October Files 6. (Art History, Art Criticism, Art Theory, Essays, Feminism, Mass Media, Photography).
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9780262524636 (2006)
~EN PB US FEISBN: 9780262524636 bzw. 0262524635, vermutlich in Englisch, MIT Press; October Files Ser., Cambridge, MA, Taschenbuch, gebraucht, akzeptabler Zustand, Erstausgabe.
Von Händler/Antiquariat, LEFT COAST BOOKS [2985969], Santa Barbara, CA, U.S.A.
x, 222 pp., illus., bib. notes, index; 23 cm. Tight, clean copy. CONTENTS: The allegorical impulse: toward a theory of postmodernism, Part 2 (1980), by Craig Owens; The photographic activity of postmodernism (1980), by Douglas Crimp; A piece of the action: image of "woman" in the photography of Cindy Sherman (1983/1986), by Judith Williamson; Suitable for framing: the critical recasting of Cindy Sherman (1991), by Abigail Solomon-Godeau; Cosmetics and abjection: Cindy Sherman 1977-87 (1991-1996), by Laura Mulvey; House of wax (1993), by Norman Bryson; Cindy Sherman: Untitled (1993), by Rosalind Krauss; How to face the gaze (1996/2005), by Kaja Silverman; Obscene, abject, traumatic (1996), by Hal Foster; A body slate: Cindy Sherman (2004), by Johanna Burton. Size: 8vo - over 7¾" - 9¾" tall, Books.
x, 222 pp., illus., bib. notes, index; 23 cm. Tight, clean copy. CONTENTS: The allegorical impulse: toward a theory of postmodernism, Part 2 (1980), by Craig Owens; The photographic activity of postmodernism (1980), by Douglas Crimp; A piece of the action: image of "woman" in the photography of Cindy Sherman (1983/1986), by Judith Williamson; Suitable for framing: the critical recasting of Cindy Sherman (1991), by Abigail Solomon-Godeau; Cosmetics and abjection: Cindy Sherman 1977-87 (1991-1996), by Laura Mulvey; House of wax (1993), by Norman Bryson; Cindy Sherman: Untitled (1993), by Rosalind Krauss; How to face the gaze (1996/2005), by Kaja Silverman; Obscene, abject, traumatic (1996), by Hal Foster; A body slate: Cindy Sherman (2004), by Johanna Burton. Size: 8vo - over 7¾" - 9¾" tall, Books.
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Cindy Sherman; Essays by Craig Owens, Douglas Crimp, Judith Williamson, Abigail Solomon-Godeau, Laura Mulvey, Norman Bryson, Rosalind Krauss, Kaja Silverman, Hal Foster, and (Publisher series: October Files.) (2006)
~EN PB USISBN: 9780262524636 bzw. 0262524635, vermutlich in Englisch, MIT Press 978-0-262-52463-6, Cambridge, Taschenbuch, gebraucht, guter Zustand.
Von Händler/Antiquariat, Burton Lysecki Books, ABAC/ILAB [3340], Winnipeg, MB, Canada.
[978-0-262-52463-6] 2006. (Trade paperback) Very good plus. 222pp. Photographs, notes, index. The bottom edge is lightly soiled. "With her Untitled Film Stills series of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres have offered a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began -- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others". Publisher series: October Files 6. (Art History, Art Criticism, Art Theory, Essays, Feminism, Mass Media, Photography), Books.
[978-0-262-52463-6] 2006. (Trade paperback) Very good plus. 222pp. Photographs, notes, index. The bottom edge is lightly soiled. "With her Untitled Film Stills series of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres have offered a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began -- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others". Publisher series: October Files 6. (Art History, Art Criticism, Art Theory, Essays, Feminism, Mass Media, Photography), Books.
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Cindy Sherman: Volume 6
EN NWISBN: 9780262524636 bzw. 0262524635, in Englisch, MIT Press, Vereinigte Staaten von Amerika, neu.
Critical essays on Cindy Sherman and one of contemporary art's most innovative bodies of work. With her Untitled Film Stills of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres can be seen as a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began?feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others. Yet her refusal to acknowledge any of these themes as particular concerns raises questions about the relationships between the meanings projected upon a work of art and those produced by it. Cindy Sherman's art fascinates us in part because of its capacity to suggest?while at the same time slipping away from?so many possible readings. The discussions in these illustrated essays span Sherman's almost three-decade-long career, from her striking debut in the black-and-white Untitled Film Stills through her color photographs using back-projection, prosthetic body parts, and the ever-ingenuous modes of disguise and self-fashioning seen in such later series as Centerfolds, Fairy Tales, and Disasters. The essays?by such well-known critics as Douglas Crimp, Hal Foster, and Rosalind Krauss?respond not only to Sherman's work but also to the arguments and postulations made about it, becoming part of the ongoing critical conversation about an artist of major significance.
6
Cindy Sherman: Volume 6 (Paperback) (2006)
~EN PB NWISBN: 9780262524636 bzw. 0262524635, Band: 6, vermutlich in Englisch, MIT Press Ltd, United States, Taschenbuch, neu.
Von Händler/Antiquariat, The Book Depository [54837791], London, United Kingdom.
Language: English. Brand new Book. Critical essays on Cindy Sherman and one of contemporary art's most innovative bodies of work.With her Untitled Film Stills of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres can be seen as a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began-feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others. Yet her refusal to acknowledge any of these themes as particular concerns raises questions about the relationships between the meanings projected upon a work of art and those produced by it. Cindy Sherman's art fascinates us in part because of its capacity to suggest-while at the same time slipping away from-so many possible readings. The discussions in these illustrated essays span Sherman's almost three-decade-long career, from her striking debut in the black-and-white Untitled Film Stills through her color photographs using back-projection, prosthetic body parts, and the ever-ingenuous modes of disguise and self-fashioning seen in such later series as Centerfolds, Fairy Tales, and Disasters. The essays-by such well-known critics as Douglas Crimp, Hal Foster, and Rosalind Krauss-respond not only to Sherman's work but also to the arguments and postulations made about it, becoming part of the ongoing critical conversation about an artist of major significance.
Language: English. Brand new Book. Critical essays on Cindy Sherman and one of contemporary art's most innovative bodies of work.With her Untitled Film Stills of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres can be seen as a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began-feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others. Yet her refusal to acknowledge any of these themes as particular concerns raises questions about the relationships between the meanings projected upon a work of art and those produced by it. Cindy Sherman's art fascinates us in part because of its capacity to suggest-while at the same time slipping away from-so many possible readings. The discussions in these illustrated essays span Sherman's almost three-decade-long career, from her striking debut in the black-and-white Untitled Film Stills through her color photographs using back-projection, prosthetic body parts, and the ever-ingenuous modes of disguise and self-fashioning seen in such later series as Centerfolds, Fairy Tales, and Disasters. The essays-by such well-known critics as Douglas Crimp, Hal Foster, and Rosalind Krauss-respond not only to Sherman's work but also to the arguments and postulations made about it, becoming part of the ongoing critical conversation about an artist of major significance.
7
Cindy Sherman: Volume 6 (Paperback) (2006)
~EN PB NWISBN: 9780262524636 bzw. 0262524635, Band: 6, vermutlich in Englisch, MIT Press Ltd, United States, Taschenbuch, neu.
Von Händler/Antiquariat, Book Depository International [58762574], London, United Kingdom.
Language: English. Brand new Book. Critical essays on Cindy Sherman and one of contemporary art's most innovative bodies of work.With her Untitled Film Stills of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres can be seen as a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began-feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others. Yet her refusal to acknowledge any of these themes as particular concerns raises questions about the relationships between the meanings projected upon a work of art and those produced by it. Cindy Sherman's art fascinates us in part because of its capacity to suggest-while at the same time slipping away from-so many possible readings. The discussions in these illustrated essays span Sherman's almost three-decade-long career, from her striking debut in the black-and-white Untitled Film Stills through her color photographs using back-projection, prosthetic body parts, and the ever-ingenuous modes of disguise and self-fashioning seen in such later series as Centerfolds, Fairy Tales, and Disasters. The essays-by such well-known critics as Douglas Crimp, Hal Foster, and Rosalind Krauss-respond not only to Sherman's work but also to the arguments and postulations made about it, becoming part of the ongoing critical conversation about an artist of major significance.
Language: English. Brand new Book. Critical essays on Cindy Sherman and one of contemporary art's most innovative bodies of work.With her Untitled Film Stills of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres can be seen as a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began-feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others. Yet her refusal to acknowledge any of these themes as particular concerns raises questions about the relationships between the meanings projected upon a work of art and those produced by it. Cindy Sherman's art fascinates us in part because of its capacity to suggest-while at the same time slipping away from-so many possible readings. The discussions in these illustrated essays span Sherman's almost three-decade-long career, from her striking debut in the black-and-white Untitled Film Stills through her color photographs using back-projection, prosthetic body parts, and the ever-ingenuous modes of disguise and self-fashioning seen in such later series as Centerfolds, Fairy Tales, and Disasters. The essays-by such well-known critics as Douglas Crimp, Hal Foster, and Rosalind Krauss-respond not only to Sherman's work but also to the arguments and postulations made about it, becoming part of the ongoing critical conversation about an artist of major significance.
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Cindy Sherman: Volume 6 (October Files, 6) (2006)
~EN NWISBN: 9780262524636 bzw. 0262524635, Band: 6, vermutlich in Englisch, 240 Seiten, MIt Press, neu.
Neu ab: 15,67 € (2 Angebote)
Gebraucht ab: 6,50 € (1 Angebote)
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Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
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