Douglas brian adam (12 risultati)

SingleIssueMagazine. Condizione: Very Good. Vol. 18, No. 6. Corner creasing; label ghost and small pull. Book.

Condizione: New. pp. 82.

Paperback. Condizione: New.

Condizione: New. Idioma/Language: Español. El 8 de noviembre de 2016, Estados Unidos se despertó en la UVI. Un multimillonario histriónico había ganado las elecciones con un mensaje machista, antiinmigrante, antielitista y nacionalista. ¿En qué momento se jodió el país? En los años 80 Ronald Reagan y Margaret Thatcher habían levantado un modelo de plácido entendimiento entre mercados y democracias que hizo crack en 2008. Entonces surgieron chispazos rupturistas como Occupy Wall Street. Hoy asistimos al rearme de las élites, y vemos cómo Trump es solo uno de los indicios de un fenómeno global: la extrema derecha crece y afloran mandatarios como Bolsonaro, Salvini u Orban. Frente a este panorama, los impulsores de El síntoma Trump se lanzaron a interrogar a los economistas, intelectuales, historiadores y activistas más influyentes de Estados Unidos para romper los clichés sobre el magnate. El resultado son dieciséis entrevistas organizadas en tres partes: primero, un análisis del sistema que ha favorecido al fenómeno Trump, hasta llegar a las entrañas del Partido Republicano; un segundo bloque que aborda los conflictos atascados históricamente en la sociedad estadounidense, como la raza, la clase, la inmigración o el feminismo; y un tercero que se arriesga con alternativas para el futuro, ya sea a partir del populismo democrático de Bernie Sanders o de los últimos movimientos emancipadores. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.…

Condizione: New.

Condizione: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

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Hardcover. Condizione: New. For his book Paper Cuts, published in occasion of his first solo show in the UK, Due Date, at the Warrington Museum of Art, Warrington, and at the Black Rat Project, London (March 2011), the Brooklyn based artist Brian Adam Douglas - aka Elbow Toe - explores his preconceived notions of parenthood and the opportunities for growth that come through that process. As an artist in the process of trying to become a parent and living in one of the most parent-centric sections of New York City, Brian Adam is keenly aware of the mania that strikes at the heart of parents young and old. In these paintings he addresses fears (loss of individuation as well as of the proverbial unknown), the strengthening of bonds in times of crisis, the issues of trying to become a parent later in life and the wisdom gained through the process of parenting. The work is divided into two groups: a set of images on panels, and a set of images on paper. In the more fully developed works on panel, all the actions take place in staged environments. The elements surrounding the figures are merely cardboard props, strictly for the purpose of giving the figures' action a point of reference. The action of the figures is the reality of the image, everything else is just window dressing. The paint drips and splashes act as abstract gestures clearing things away yet never managing to obscure the events occurring on the stage. In the works on paper, the events being described are contained in a sea of white. By the very nature of the presentation the gestures and relationships are isolated and distilled.…

Rilegato. Condizione: new. Warrington, Warrington Museum of Art, 1 marzo - 31 marzo 2011.Roma, 2011; ril., pp. 86, ill., cm 23x31. For his book Paper Cuts, published in occasion of his first solo show in the UK, Due Date, at the Warrington Museum of Art, Warrington, and at the Black Rat Project, London (March 2011), the Brooklyn based artist Brian Adam Douglas - aka Elbow Toe - explores his preconceived notions of parenthood and the opportunities for growth that come through that process. As an artist in the process of trying to become a parent and living in one of the most parent-centric sections of New York City, Brian Adam is keenly aware of the mania that strikes at the heart of parents young and old. In these paintings he addresses fears (loss of individuation as well as of the proverbial unknown), the strengthening of bonds in times of crisis, the issues of trying to become a parent later in life and the wisdom gained through the process of parenting.The work is divided into two groups: a set of images on panels, and a set of images on paper. In the more fully developed works on panel, all the actions take place in staged environments. The elements surrounding the figures are merely cardboard props, strictly for the purpose of giving the figures' action a point of reference. The action of the figures is the reality of the image, everything else is just window dressing. The paint drips and splashes act as abstract gestures clearing things away yet never managing to obscure the events occurring on the stage. In the works on paper, the events being described are contained in a sea of white. By the very nature of the presentation the gestures and relationships are isolated and distilled. Libro. …

Hardcover. Condizione: New. For his book Paper Cuts, published in occasion of his first solo show in the UK, Due Date, at the Warrington Museum of Art, Warrington, and at the Black Rat Project, London (March 2011), the Brooklyn based artist Brian Adam Douglas - aka Elbow Toe - explores his preconceived notions of parenthood and the opportunities for growth that come through that process. As an artist in the process of trying to become a parent and living in one of the most parent-centric sections of New York City, Brian Adam is keenly aware of the mania that strikes at the heart of parents young and old. In these paintings he addresses fears (loss of individuation as well as of the proverbial unknown), the strengthening of bonds in times of crisis, the issues of trying to become a parent later in life and the wisdom gained through the process of parenting. The work is divided into two groups: a set of images on panels, and a set of images on paper. In the more fully developed works on panel, all the actions take place in staged environments. The elements surrounding the figures are merely cardboard props, strictly for the purpose of giving the figures' action a point of reference. The action of the figures is the reality of the image, everything else is just window dressing. The paint drips and splashes act as abstract gestures clearing things away yet never managing to obscure the events occurring on the stage. In the works on paper, the events being described are contained in a sea of white. By the very nature of the presentation the gestures and relationships are isolated and distilled.…

Condizione: New. Print on Demand pp. 82.

Condizione: New. PRINT ON DEMAND pp. 82.