ISBN: 9788415303152 - 1,000 caras, 0 caras, 1 rostro/ 1,000 faces, 0 faces, one face (9 risultati)

Hardcover. Condizione: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

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

Hardcover. Condizione: Fine. 1st Edition. First edition. A fine copy issued without a DJ. Text in Spanish and English. See my photos of the book you will receive, not stock photos. More available upon request. This book is in my possession and will be packed in bubble wrap and shipped in a cardboard box. USPS tracking provided. #141.…

Hardcover. Condizione: As New. 1st Edition. Hardcover catsalogue for Madrid exhibition. Dual Spanish English text. Profusely illustrated.

Condizione: New.

Condizione: leido. Cart Ilustr. 140.

Encuadernación de tapa dura. Condizione: Bien. TF / Fundación Telefónica / La Fábrica, 2011. Libro de fotografías. Arte. Fotografía. Texto en español e inglés. 142 pp. 27 x 21. Tela editorial tapa dura con sobrecubierta de editorial ilustrada. Sin subrayados ni anotaciones. Buen estado de conservación. ISBN: 9788415303152.…

Condizione: Very Good. 27 x 20 cm., 139 pag. LEA LAS CONDICIONES DE ENVIO DE LA LIBRERÍA. Tapa dura, buen estado de conservacion.

Hardcover. Condizione: New. 1000 Faces/0 Faces/One Face unites two great contemporary artists who have interrogated constructions of identity with an entirely unknown late-nineteenth-century photographer named Frank Montero. Its thesis runs as follows: in Cindy Sherman's manipulations of generic casting we encounter a face that produces all faces; in Thomas Ruff's proliferating but depersonalized portraits, we all encounter all faces reduced to a zero degree; and in Montero, we encounter a face that plays the role of itself, throughout the inscriptions wrought upon it by time. Montero's work, seemingly made without artistic intentions or ambitions, and published here for the first time, provides a sort of Rembrandt-like counterpoint to the identity arguments made by Ruff and Sherman's work, and alongside them makes for the most fascinating panorama of the absolute constructedness of the photographic portrait and the eerie artifice of identity itself.…