video art (17 risultati)

Paperback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

paperback. Condizione: Very Good.

Soft cover. Condizione: As New. No Jacket. 1st Edition. 152 pp.; 26.7 x 20.3 cm.; sewn bound; black-and-white; offset-printed anthology of essays on video art. Edited and with text by Elke Town. Additional texts by Tom Sherman, Barbara London, Stuart Marshall, Klaus vom Bruch, Judith Barry, Raymon Bellour, General Idea, Jean-Paul Fargier, Dan Graham, Helmut Friedel, Peggy Gale, Colin Campbell, and Chris Dercon. Texts in English with some texts translated into German and French.

Kartoniert / Broschiert. Condizione: New. Bill Byrne is a multimedia digital artist whose work has been exhibited internationally. His visual and sound art focuses on building surrealistic, organic worlds. He makes digital-photomontage-based prints, animated installations and conceptual sound art p.

Gebunden. Condizione: New. Bill Byrne is a multimedia digital artist whose work has been exhibited internationally. His visual and sound art focuses on building surrealistic, organic worlds. He makes digital-photomontage-based prints, animated installations and conceptual sound art p.

[no date]. (Periodical) Very good. 72pp. Black and white and color photographs, black and white and color illustrations. Contributors include Kathleen Fleming (Igloolik Video: An Organic Response from a Culturally Sound Community), Kathleen Fleming (Mary Kunuk: From Printmaking to Computer-Animated Video), Maureen Flynn-Burhoe (Shamanism in Inuit Art), Matthew Fox (Mike Massie of Labrador), Mattiusi Iyaituk (The Contemporary Living Art). Article about Mary Kunuk & Mike Massie. (Art--Inuit, Shamanism).

Condizione: Fine. Number of books: 1 book.

Condizione: Fine. Number of books: 1 book.

Condizione: Fine. Number of books: 1 book.

Condizione: Fine. Number of books: 1 book.

Condizione: Good++. Art Video Series (illustratore). Video. S12 6.

Condizione: Good++. Art Video Series (illustratore). Video. S12 6.

Condizione: Good++. Art Video Series (illustratore). Video. S12 6.

12 Blätter Büttenpapier (ca. 77 x 57 cm), je einseitig mit großer Orig.-Lithographie (ca. 65 x 50 cm), unter der Darstellung links bezeichnet, -mittig nummeriert, -rechts signiert und datiert. - Lose in unbedruckter schwarzer Leinen-Deckelkassette; Imperial-Folio (ca. 80 x 60 x 3 cm; ca. 3,5 kg.) *** [FRÜHLINGSVERKAUF-Endspurt, noch bis Montag den 25.05.2026 / Ultimate SPRING-SALE, only until Monday May 25th 2026: um über 45% REDUZIERTER PREIS / PRICE-REDUCTION of over 45%; ehemaliger Preis / previously EUR 850,-] --- SELTENE MONUMENTALE UND AUSDRUCKSSTARKE GRAFIKFOLGE DES LEIPZIGER KÜNSTLERS, MÖGLICHERWEISE INSPIRIERT DURCH STEFAN HEYMS ROMAN AUS DEM JAHRE 1981; NR. 4 VON 12 EXEMPLAREN. Entstand wohl zum Abschluss seines Studiums an der Hochschule für Grafik und Buchkunst Leipzig, HGB (kein weiteres Exemplar im gegenwärtigen oder vergangenen Kunsthandel online nachweisbar). - KASSETTE MIT DEUTLICHEM FEUCHTIGKEITSRAND, wenige Blätter sind minimal am unteren Rand davon betroffen; 2 Blätter mit kleinem Eckknick, das letzte Blatt rückseitig leicht fleckig; VON DER KASSETTE ABGESEHEN SCHÖNES EXEMPLAR; BEILIEGT EIN KÜNSTLERBUCH BARCZEWSKIS: 'ANNO DOMINI' von Peter Enders, mit Illustrationen von Peter Barczewski, [künstlerisch] geschrieben von Torsten Lemme. Leporello mit Einband, ausgefaltet ca. 40 cm x 6 m(!), ''entstanden [1987] als Studienarbeit an der Hochschule für Grafik und Buchkunst, Leipzig. Fachklasse für Illustration und freie Grafik, Prof. Rolf Kuhrt. . .'' --- *) gemäß der beruflichen Kurzbiographie des Künstlers auf der Webseite seines Unternehmens '3D ART STUDIO, Leipzig' studierte er vom ''Okt. 1984 - Juli 1989 Illustration und freie Grafik [an der] Hochschule für Grafik und Buchkunst Leipzig (HGB) Illustration [und] originalgrafische Techniken (Radierung, Lithografie, Siebdruck u.a.) [und lehrte vom] Juni 1996 - März 2001 3D-Animation [an der] Hochschule für Film und Fernsehen Potsdam-Babelsberg (HFF)''.

Condizione: Good++. Art Video Series (illustratore). Video. S12 6.

Composed of 56 loose leaves, including a three-sheet introduction by Fred Licht, and the remaining 53 sheets each dedicated to a different participant. Catalogue published on the occasion of the Video art festival, held at the Aarhus Kunstmuseum, Denmark, February 1976. Participating artists included Peter d?Agostino, Eric Anderson, Ylona Aron, Eric Cameron, Hervé Fischer, Fred Forest, Jochen Gerz, Saul Goldman, Marianne Heske, Davi Det Hompson, Roger d?Hondt, General Idea, Sharon Kulik, Suzie Lake, Fred Licht, Gerald Minkoff, Ronald Nameth, Piotr Olszanski, Joan Rabascall, Lisa Steele, Jean-Paul Thenot, Goran Trbuljak and others. Sheets loose as issued in printed card folder with flaps.

Buch. Condizione: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Wild Sound turns an analytic eye and ear to the role of background sound in cinema, to the way that film sound captures, creates, represents, and even critiques the environments that we inhabit. Listening beyond music and dialogue, this book explores the relationship between location sound, sound libraries, and wider practices of field recording in the creation of the film soundtrack. Wild Sound is also interested in the wildness of sound, in the ways in which ambient environmental sounds gesture to a world beyond the frame, and sometimes invite the chaotic, unmanageable energies of the world outside into the hyper-controlled domain of the film. 'Wild sound', or 'wild track', is a film industrial term for non-synchronised sounds that often originate from a process of field recording. Immanently useful as atmosphere and sonic filler, these sounds often smuggle a dangerously noisy materiality into the systems of cinema. Ambient sound has been chronically under-appreciated and critically under-examined in the study of cinema. This book asserts that the background sounds of place onscreen are never neutral. Pigott reveals them to be carefully constructed 'sonic environments' that play a quiet but substantial role in determining how film audiences feel about the places, people and events that populate the screen. Each chapter tracks individual sounds across a wide range of international films from the history of cinema, providing rich cultural context and technical detail, drawing out the multiple meanings and formal characteristics of those ambient sounds that are often dismissed as inconsequential. Pigott demonstrates the value of paying close attention to the cinematic sound of place, at a time when it has never been more vital to examine how we imagine and treat our environments.