mosset olivier (57 risultati)

Hardcover. Condizione: Very Good. HARDCOVER Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Oversized.

paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

paperback. Condizione: New. Cloth, no dj. In shrinkwrap.

Softcover, 56 pages; very good condition; light rubbing to covers; no internal marks. Foreign shipping may be extra.

Exhibition invite, 6 x 9 inches; very good condition; an unmailed copy.

French-fold / Sans Cout. Plier. Condizione: Fine / État De Neuf. Olivier Mosset; Gregoire Muller; Vaclav Pozarek; Christoph Rutimann; Adrian Schiess; Remy Zaugg (illustratore). Musée d`art moderne de Saint-Etienne : 4 oct - 24 nov 1991 / ELAC Espace lyonnaise d`art contemporain : 8 nov 1991 - 5 jan 1992. Montreal Books rating system: 1. Fine 2. Near Fine 3. Very Good 4. Good 5. Fair. Size: 4to / in-4o, 303pp. Book.

Exhibition invite, 4 x 6 inches; very good condition; a mailed copy with address and postal marks on rear.

French-fold / Sans Cout. Plier. Condizione: Fine / État De Neuf. Olivier Mosset; Gregoire Muller; Vaclav Pozarek; Christoph Rutimann; Adrian Schiess; Remy Zaugg (illustratore). Musée d`art moderne de Saint-Etienne : 4 oct - 24 nov 1991 / ELAC Espace lyonnaise d`art contemporain : 8 nov 1991 - 5 jan 1992. Montreal Books rating system: 1. Fine 2. Near Fine 3. Very Good 4. Good 5. Fair. Size: 4to / in-4o, 303pp. Book.

Softcover. Condizione: Sehr gut. 2. Auflage. Z/S : 204 Seiten/pages - En 1969, John M Armleder cofonde à Genève l'Ecart Performance Group avec Patrick Lucchini et Claude Rychner. Cette aventure artistique collective, placée dans la continuité du mouvement Fluxus, se développe ensuite pour devenir une galerie autogérée, une maison d'édition, une librairie. Basé à Genève, le groupe Ecart est reconnu comme l'un des relais importants de l'art expérimental des années 70 en Suisse. Le MAMCO est heureux de proposer la réédition augmentée de cet ouvrage de référence sur une scène artistique encore trop peu documentée.

Poster. The original announcement poster/flyer for an exhibition of work by Olivier Mosset, held at Leo Koenig Inc., NYC, February 10 - March 19, 2011. The show was concurrent and in collaboration with another solo show at Mary Boone. 16.5 x 11 inches. Condition: Fine, machine-folded twice, as issued. Laid-in is the gallery press release. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day.

Paperback. Condizione: Very Good. Staplebound edition. Condition: Very Good with light wear to covers and no marks to text. Edition contains dimensions measurements of works. 2000 existing editions.; 8vo - over 7¾" - 9¾".

62 pp.; 29.6 x 23.5 cm.; staple bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; October-November 1979 issue of Flash Art, edited by Giancarlo Politi. Contents include: "Letter from the Interview," by Giancarlo Politi; "Painting in New York : An Illustrated Guide," by Thomas Lawson; "Monochrome in New York," Jerry Zeniuk, Doug Sanderson, Raimund Girke, Joseph Marioni, Phil Sims, Olivier Mosset, and Marcia Hafif in discussion; "The Italian Trans-Avantgarde," by Achille Bonito Oliva; "Flash Art : New York, The Necessary Dialectical Critic," by Donald B. Kuspit; "The Wound as a Sign : An Encounter with Gina Pane," by Helena Kontova; "Three Cheers for Rebellion," by Hugh Adams; "Installations and Performance in Ireland," by Dorothy Walker; "Italy," by Carlo Bertocci; "Erscheinen und Verschwinden über Urs Lüthi," by Gerhard Johann Lischka; "Interview mit Urs Lüthi und Seine Frau Elke Kilga," by Gerhard Johann Lischka "Interview Avec Jean Clair," by Bernard Blistene. Cover : Frank Stella. Fair / Poor. Soiling across covers, tearing at spine edge at staple binding with a 2 cm. tear and 8 mm. tears to top and bottom of spine. Additional creasing along spine. Curling and chipping of right side of publication. Creasing along top edge of verso with 3 mm. hole to verso. 1.3 cm. dog-ear to bottom of pages 52-62 with additional bumping and creasing to the other pages. Contents clean and unmarked.

38 pp.; 20.8 x 30 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; June / July 1980 issue of the periodical Artistes. Edited by Bernard Lamarche-Vadel. Contents include: "Editorial," by Bernard Lamarche-Vadel; "Christo, une ligne de fuite," by Michel Enrici; "Le Pont-Neuf empaqueté," by Christo; "Olivier Mosset," by Bernard Lamarche-Vadel; "Penone," by Bernard Blistene; "Entrietien avec Hervé Télémaque," by Philippe Cyroulnik; "Mel Bochner, de la théorie a l'expérience," by Claude Gintz "Entretien avec Mel Bochner," by Claude Gintz: "Actualité Expositions," by Alan Charlton, César Cofone, Gaston Planet, Bernard Pagès, Pino Pinelli, Carnets d'Artistes, and Galerie S. Mathieu. Text in French. Good. Heavy bumping of right side corners with creasing to recto and verso. rubbing of cover edges. Contents clean and unmarked.

Hardcover. Condizione: Brand New. 224 pages. 10.75x8.00x0.83 inches. In Stock.

Exhibition Announcement Cards. The original announcement card for an exhibition of paintings by Olivier Mosset shown alongside custom-designed motorcycles by Indian Larry (Larry Desmedt) and held at Spencer Brownstone Gallery, NYC, March 1 - April 7, 2007. Stiff card, printed both sides; 7 x 5 inches. Condition: Fine. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day.

Exhibition Announcement Cards. The original announcement card for a major museum exhibition of work by Olivier Mosset, held at the Musee d'art contemporain de Nimes, France, October 15, 2004 - January 9, 2005. Thin card, printed both sides; 6.5 x 6.5 inches. Condition: Fine with a touch of rubbing to the corners. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day.

Exhibition Announcement Cards. The original announcement card for an exhibition of work by Olivier Mosset, held at Spencer Brownstone Gallery, NYC, November 8 - December 7, 2002. Stiff thin card, printed both sides; 5 x 7 inches. Condition: Fine. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day.

Exhibition Announcement Cards. The original announcement card for an exhibition of work by Olivier Mosset, held at Mary Boone, NYC, February 10 - March 19, 2011. The show was concurrent and in collaboration with another solo show at Leo Koenig Inc. Stiff card, folded once to 4 pages; 8 x 8 inches. Condition: Fine with a touch of rubbing/blunting to the corners. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day.

Hardback. Condizione: New. When Olivier Mosset bought his first motorcycle - a US Army surplus Harley Davidson - in Paris back in the late 1960s, he helped start up a subculture still wholly unknown in Europe at the time: the motorcycle club. The young painter's studio on the Rue de Lappe doubled as a hub of radical painting - conceptually reduced black circles on a white canvas - and a garage cum hangout for the first Marxist-influenced motorcycle club, whose members sympathized with the May '68 student revolts. Cars and motorcycles have been a driving force in the life and work of Olivier Mosset: as an attitude and lifestyle, as a means of transportation and later, from the mid-1990s, as readymades. WHEELS retraces his artistic career through the interplay between motor vehicles and painting, including brief descriptions of each vehicle he used and how it ties into his biography. Art critic Elisabeth Wetterwald's interview with Olivier Mosset and US artist Vincent Szarek, who learned his trade working on car bodies and repeatedly collaborated with Mosset, likewise explores the interface between art and motorcycles: Mosset's vehicles were exhibited from various perspectives in museums and at motorcycle shows. And in his essay, art historian Philip Ursprung analyzes the importance of technology, culture and nature to Mosset, who was always heading west, from the foothills of the Jura to Paris, then New York and eventually, in 1996, cross-country by motorcycle to Tucson, Arizona.

Brossura. Fotografie a colori n.t./Coloured photographs. Numero di tavole: pp.62 altezza 0 larghezza 0 Esemplari in buone condizioni. Testo in francese e inglese. Copertine leggermente ingiallite, con macchie di polvere. Polvere ai tagli. Leggero ingiallimento di tagli e pagine.Books in good conditions. Text in French and English. Yellowed covers, with dust stains. Dust on the edges. Slightly yellowed edges and pages.

Paperback. Condizione: Brand New. 176 pages. French language. 12.00x9.00x0.70 inches. In Stock.

No Binding. Condizione: Fine. Exhibition Invitation Card in fine condition. Cards are sent in stiff mailers. Card.

Condizione: New. KlappentextrnrnVom Stern zum TUTUSeit 1996 lebt Olivier Mosset in Tucson, Arizona, geboren ist er 1944 in Bern. Seit Mitte der 1970er Jahre gilt er als Vertreter der sogenannten Radikalen Malerei, einer abstrakt-geometrischen Malereiauffassun.

Hardback. Condizione: New. When Olivier Mosset bought his first motorcycle - a US Army surplus Harley Davidson - in Paris back in the late 1960s, he helped start up a subculture still wholly unknown in Europe at the time: the motorcycle club. The young painter's studio on the Rue de Lappe doubled as a hub of radical painting - conceptually reduced black circles on a white canvas - and a garage cum hangout for the first Marxist-influenced motorcycle club, whose members sympathized with the May '68 student revolts. Cars and motorcycles have been a driving force in the life and work of Olivier Mosset: as an attitude and lifestyle, as a means of transportation and later, from the mid-1990s, as readymades. WHEELS retraces his artistic career through the interplay between motor vehicles and painting, including brief descriptions of each vehicle he used and how it ties into his biography. Art critic Elisabeth Wetterwald's interview with Olivier Mosset and US artist Vincent Szarek, who learned his trade working on car bodies and repeatedly collaborated with Mosset, likewise explores the interface between art and motorcycles: Mosset's vehicles were exhibited from various perspectives in museums and at motorcycle shows. And in his essay, art historian Philip Ursprung analyzes the importance of technology, culture and nature to Mosset, who was always heading west, from the foothills of the Jura to Paris, then New York and eventually, in 1996, cross-country by motorcycle to Tucson, Arizona.

Condizione: New. &Uumlber den AutorrnrnOlivier Mosset (geb. 1944 in Bern) ist einer der wichtigsten Exponenten postmoderner, geometrischer Malerei. 1965 zog er 21-jaehrig nach Paris, wo er einen radikalen Neuanfang der Malerei mitverantwortete. Fuer kurze Zeit wa.

Condizione: Very good.

Tapa Dura. Condizione: New. 2ª Edición. Cuando Olivier Mosset compró su primera motocicleta, una Harley Davidson excedente del ejército de EE. UU., en París a fines de la década de 1960, ayudó a iniciar una subcultura que aún era completamente desconocida en Europa en ese momento: el club de motociclistas. El estudio del joven pintor en la Rue de Lappe se duplicó como un centro de pintura radical (círculos negros conceptualmente reducidos sobre un lienzo blanco) y un garaje y lugar de reunión para el primer club de motociclistas con influencia marxista, cuyos miembros simpatizaron con las revueltas estudiantiles de mayo del 68. .Coches y motos han sido un motor en la vida y obra de Olivier Mosset: como actitud y estilo de vida, como medio de transporte y más tarde, a partir de mediados de los 90, como readymades. WHEELS recorre su carrera artística a través de la interacción entre los vehículos motorizados y la pintura, incluidas breves descripciones de cada vehículo que usó y cómo se relaciona con su biografía.La entrevista de la crítica de arte Elisabeth Wetterwald con Olivier Mosset y el artista estadounidense Vincent Szarek, quien aprendió su oficio trabajando en carrocerías de automóviles y colaboró ??repetidamente con Mosset, también explora la interfaz entre el arte y las motocicletas: los vehículos de Mosset se exhibieron desde varias perspectivas en museos y exhibiciones de motocicletas. .Y en su ensayo, el historiador del arte Philip Ursprung analiza la importancia de la tecnología, la cultura y la naturaleza para Mosset, que siempre se dirigía hacia el oeste, desde las estribaciones del Jura hasta París, luego Nueva York y finalmente, en 1996, a campo traviesa en motocicleta. a Tucson, Arizona. Libro, Book, Buch. Livre.

Condizione: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Taschenbuch. Condizione: Neu. Neuware - Als der junge Maler Olivier Mosset in den späten 1960er-Jahren in Paris sein erstes Motorrad kaufte - eine Harley Davidson aus Beständen der US-Armee -, begründete er eine Subkultur mit, welche in Europa noch gänzlich unbekannt war: den Motorradclub. Mossets Atelier an der Rue de Lappe war sowohl Entstehungsort radikaler Malerei - wie beispielsweise konzeptuell reduzierter schwarzer Kreise auf weissem Grund - als auch Treffpunkt und Werkstatt des ersten Motorradclubs marxistischer Prägung. Man sympathisierte mit der Studentenrevolte vom Mai '68. Das Buch WHEELS hält die Bedeutung von Motorrädern und Autos in Leben und Werk von Olivier Mosset fest; als Lebensgefühl, Fortbewegungsmittel und schliesslich ab Mitte der 1990er-Jahre auch als skulpturales Readymade. Das Buch folgt der künstlerischen Laufbahn Mossets anhand des Wechselspiels von Vehikeln und Malerei; jedes von ihm eingesetzte Motorfahrzeug wird kurz beschrieben und biografisch eingeordnet. Ein Interview der Kritikerin Elisabeth Wetterwald mit Olivier Mosset und dem US-amerikanischen Künstler Vincent Szarek, der sein Handwerk beim Veredeln von Auto-Karosserien erlernt hat und wiederholt mit Mosset kooperierte, hat die Schnittstelle von Kunst und Motorrad zum Thema: Mossets Vehikel wurden sowohl im Museum als auch auf Motorradshows aus verschiedenen Perspektiven gezeigt. Der Kunsthistoriker Philip Ursprung analysiert in seinem Essay die Bedeutung von Technik, Kultur und Natur im Werk von Mosset, der in seinem Leben stets westwärts zog, vom Fusse des Jura über Paris nach New York und schliesslich, 1996, per Motorrad nach Tucson, Arizona.