Hiesinger, Kathryn B.:Zaha Hadid: Form in Motion
- Erstausgabe 2019, ISBN: 9780300179828
Taschenbuch, Gebundene Ausgabe
Munich: Prestel, March 1999. Paperback. Near Fine. Unmarked. Interior pristine. Spine straight, tight and uncreased. Light rubbing to covers. Light reading wear to corners with a curl to … Mehr…
Munich: Prestel, March 1999. Paperback. Near Fine. Unmarked. Interior pristine. Spine straight, tight and uncreased. Light rubbing to covers. Light reading wear to corners with a curl to bottom corner. A book that clearly has been used, but remains in very nice condition. Not from a library. No remainder mark. Not clipped. More than 600 photographs, nine detailed maps, bibliography, index of ethnic groups. 620 pages. 9.75 x 11.75 x 1.75 inches Heavy item (7 pounds): extra charges for expedited or international shipping. First published on the occasion of an exhibition held October 4, 1995 - January 21, 1996 at the Royal Academy of Arts, London. This magnificent celebration of the world's oldest and most diverse artistic traditions is the definitive book on African art. Ranging from the oldest known human artifact, circa 1.6 million BC, to pieces made within living memory, the objects collected in this extraordinary volume reflect a continent of enormous cultural and historical scope. Arranged chronologically within seven geographical sections, it offers an astonishing array of sculptures in wood, bronze, stone, and gold, as well as mural paintings, ceremonial pieces, ceramics, jewelry, and textiles culled from private and public collections around the world. Commentary by renowned scholars illuminates the cultural and historical significance of these pieces, and in-depth authoritative texts highlight critical aspects of each region. Together these words and images take readers on an artistic grand tour through a continent of unparalleled diversity, and towards the thrilling discovery of not one Africa, but many. Contents: Preface by Cornel West; Why Africa? Why Art? by Kwame Anthony Appiah; Europe, African Art, and the Uncanny by Henry Louis Gates, Jr.; The African Past by Peter Garlake; Ancient Egypt and Nubia (89 objects) by Edna R. Russmann and Laslo Torok; Eastern Africa (67 objects) by John Mack; Southern Africa (48 objects) by Patricia Davison; Central Africa (140 objects) by Daniel Biebuyck and Frank Herreman; West Africa and the Guinea Coast (142 objects) by John Picton; Sahel and Savanna (60 objects) by Rene A. Bravmann; Northern Africa (67 objects) by Timothy A. Insoll, M. Rachel MacLean, R. J. A. Wilson, Nadia Erzini and Rachel Ward., Prestel, 4, Istanbul: Arter, 2016. Soft cover. New. 4to - over 9¾ - 12" tall. Paperback. Pbo. 4to. (31 x 24 cm). In English and Turkish. 125, [2] p., color and b/w ills. Bahar Yörükoglu. Flow through.= Devri daim. [Exhibition catalogue]. Edited by Süreyyya Evren, Ilkay Baliç. In her practice, Bahar Yürüko¿lu brings together the extreme ends of the natural and the human-made, where the urge for reconciling the two creates new spaces that the artist calls neo-scapes. The coming together of these two binaries offer seductive compositions, in which an unabashed embracing of colour, a genuine appreciation of material and a playful use of light entice the viewer into a space where expectations can then be subverted. "Flow Through" takes as its departure point Bahar Yürüko¿lu's experiences during her travels to the Arctic Circle in 2015, both in the summertime, when the sun doesn't set, and during the winter months, when darkness prevails. In the exhibition, the artist creates fictional spaces based on the dualities she observed in the Arctic region; blurring the boundaries between presence and absence, past and future, nature and civilisation, as well as cyclical movements and inevitable transformations, these installations, photographs and videos test the viewer's perceptive capacities, and demand that the dichotomy between the subject and the object is set aside. "Plexiberg" (2016) is a complex layering of material and light where the light emitted from the lens of the projector, bounces off of the surfaces of the physical objects, creating an immersive maze and a visual riddle. Playing heavily with the translation between two-dimensional and three-dimensional space, this deconstructed iceberg is accompanied by the sounds of melting ice from the Arctic. The artist's embrace of sensory experience is further amplified in "Pingo" (2016), in which changes in floor elevation demand from the viewer a heightened awareness of the surrounding environment. The soundscape that alternates between birds chirping, the faint techno music from a car radio and the familiar sound of snow crushing under the weight of someone walking that accompanies this installation further simulates the uncategorizable geography of the Arctic landscape, between a desaturated terrain and cultural depository, which the artist characterizes as a "future perfect world." Yürüko¿lu's photographs that follow these installations cut into the supposed fact of the photographic image by complicating it with filters, reflections, disjunctions, collapsing and expanding the picture plane. These unaltered exercises in trompe l'¿il also signify an effort to overcome the limits of Cartesian space. The coda of the exhibition is the non-linear video "The Navigator", in which a flâneuse from the future perfect or the past continuous wanders in the natural landscape, the interiors of buildings in the deserted Soviet town of Pyramiden near Svalbard, or rides on the bus, perhaps a kind of figurative Arctic express. Her ceremonial gestures and primordial signals typify a striving for existential mark-making however transient, or a hope at communication, mimicking the cyclical motions of life, as we flow through., Arter, 2016, 6, Chicago: The Arts Club of Chicago, 2019. Hardcover. VG+. Light blue boards with white lettering on front & back cover and spine, 28 pp, blue/gray and white illustrations. Exhibition held at the Arts Club of Chicago, January 23 - April 27, 2019. "Indulging in the physical nature of sound and connecting it to natural phenomena, New York-based visual/sonic artist and performer Thessia Machado builds a meta-instrument whose reverberations tap into the expressive potential of a place. Throughout the installation, a D.I.Y. circuit of electrical wire vines, speaker blooms and light-sensitive tendrils overtakes a massive section of the gallery; The Arts Club's electromagnetic profile generates content for a series of audio vignettes; and the aural is made visual through sculptural depiction of soundwaves and frequency spectra as architectural interventions. Machado's practice evolved organically from sculpture to sound, eventually aligning with the legacy of experimental music and hand-made instruments. Toward the Unsound takes us through an abridged progression of her practice from one art form to another, concluding with a festival of noise-based performance." -The Art Club of Chicago website., The Arts Club of Chicago, 2019, 3, Santa Monica, CA: Smart Art Press, 2000. Hardcover. VG/VG (bumping to spine ends. corners lightly bumped & creased. small area of white-rubbed shelf-wear to lower board. spot of soiling to back pastedown w/ matching spot to dustjacket flap. dustjacket corners creased; edge-wear; light sunning to spine). Rust cloth, pictorial DJ. 90 pp. Profuse color plates. Extensive essay by Ralph Rugoff. "Anthony Hernandez's Pictures for Rome (1998-99), made while he was a fellow at the American Academy, make no reference to any iconic images of that historic city and its famous edifices. Instead, these elegantly disturbing color photographs examine what could be considered a series of unofficial urban monuments composed from the distressed architectural elements and detritus found inside abandoned buildings. It may seem like an exaggeration to speak of the monumental aspect of such lost and lowly artifacts, but Hernandez's photographs prompt us to view the things he shows us with fascination, deference, and even, on occasion, awe...." --Ralph Rugoff., Smart Art Press, 2000, 3, Istanbul: Arter, 2016. Soft cover. New. 4to - over 9¾ - 12" tall. Paperback. Pbo. 4to. (31 x 24 cm). In English and Turkish. 125, [2] p., color and b/w ills. Bahar Yörükoglu. Flow through.= Devri daim. [Exhibition catalogue]. Edited by Süreyyya Evren, Ilkay Baliç. In her practice, Bahar Yürüko¿lu brings together the extreme ends of the natural and the human-made, where the urge for reconciling the two creates new spaces that the artist calls neo-scapes. The coming together of these two binaries offer seductive compositions, in which an unabashed embracing of colour, a genuine appreciation of material and a playful use of light entice the viewer into a space where expectations can then be subverted. "Flow Through" takes as its departure point Bahar Yürüko¿lu's experiences during her travels to the Arctic Circle in 2015, both in the summertime, when the sun doesn't set, and during the winter months, when darkness prevails. In the exhibition, the artist creates fictional spaces based on the dualities she observed in the Arctic region; blurring the boundaries between presence and absence, past and future, nature and civilisation, as well as cyclical movements and inevitable transformations, these installations, photographs and videos test the viewer's perceptive capacities, and demand that the dichotomy between the subject and the object is set aside. "Plexiberg" (2016) is a complex layering of material and light where the light emitted from the lens of the projector, bounces off of the surfaces of the physical objects, creating an immersive maze and a visual riddle. Playing heavily with the translation between two-dimensional and three-dimensional space, this deconstructed iceberg is accompanied by the sounds of melting ice from the Arctic. The artist's embrace of sensory experience is further amplified in "Pingo" (2016), in which changes in floor elevation demand from the viewer a heightened awareness of the surrounding environment. The soundscape that alternates between birds chirping, the faint techno music from a car radio and the familiar sound of snow crushing under the weight of someone walking that accompanies this installation further simulates the uncategorizable geography of the Arctic landscape, between a desaturated terrain and cultural depository, which the artist characterizes as a "future perfect world." Yürüko¿lu's photographs that follow these installations cut into the supposed fact of the photographic image by complicating it with filters, reflections, disjunctions, collapsing and expanding the picture plane. These unaltered exercises in trompe l'¿il also signify an effort to overcome the limits of Cartesian space. The coda of the exhibition is the non-linear video "The Navigator", in which a flâneuse from the future perfect or the past continuous wanders in the natural landscape, the interiors of buildings in the deserted Soviet town of Pyramiden near Svalbard, or rides on the bus, perhaps a kind of figurative Arctic express. Her ceremonial gestures and primordial signals typify a striving for existential mark-making however transient, or a hope at communication, mimicking the cyclical motions of life, as we flow through., Arter, 2016, 6, Yale University Press, 2011. Book. New. Soft cover. 1st Edition. 4to - over 9¾ - 12" tall. Softcover, 60 pp. Pritzker Prize-winning architect Zaha Hadid, designed furniture and objects since the beginning of her professional practice. This lesser-known aspect of her career takes center stage in Zaha Hadid: Form in Motion, which includes furniture, lighting, footwear, jewelry, and other objects that are as experimental in their design as any of her buildings. This eye-opening book uncovers Hadid's commercial designs, made between 1995 and 2011, as a means of exploring the interrelationships among architecture, urbanism, and design that define her work. The texts, photographs, and drawings demonstrate Hadid's groundbreaking use of technology in digital design & manufacturing, and the methods and processes that propel her revolutionary formal language. Records the installation of her designs within a sculptural environment that the artist created for their display at the Philadelphia Museum of Art. Book Condition : New, still shrink wrapped.., Yale University Press, 2011, 6<
