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Dialogues in public art
Dialogues in public art
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By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art (...)
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By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art (...)
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Dialogues in public art
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By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art--from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art. Interviewees: Vito Acconci, John Ahearn, David Avalos, Denise Scott Brown, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko.
Dialogues in public art
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By the 1990s, public art had evolved far beyond the lonely monument on an open plaza. Now public artists might design the entire plaza, create an event to alter the social dynamics of an urban environment, or help to reconstruct a neighborhood. Dialogues in Public Art presents a rich blend of interviews with the people who create and experience public art--from an artist who mounted three bronze sculptures in the South Bronx to the bureaucrat who led the fight to have them removed; from an artist who describes his work as a "cancer" on architecture to a pair of architects who might agree with him; from an artist who formed a coalition to convert twenty-two derelict row houses into an art center/community revitalization project to a young woman who got her life back on track while living in one of the converted houses. The twenty interviews are divided into four parts: Controversies in Public Art, Experiments in Public Art as Architecture and Urban Planning, Dialogues on Dialogue-Based Public Art Projects, and Public Art for Public Health. Tom Finkelpearl's introductory essay provides a concise overview of changing attitudes toward the city as the site of public art. Interviewees: Vito Acconci, John Ahearn, David Avalos, Denise Scott Brown, Rufus L. Chaney, Mel Chin, Douglas Crimp, Paulo Freire, Andrew Ginzel, Linnea Glatt, Louis Hock, Ron Jensen, Kristin Jones, Maya Lin, Rick Lowe, Jackie McLean, Frank Moore, Jagoda Przybylak, Assata Shakur, Michael Singer, Elizabeth Sisco, Arthur Symes, Mierle Laderman Ukeles, Robert Venturi, Krzysztof Wodiczko.
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livres
Publication:
mai 2000, Cambridge
mai 2000, Cambridge
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livres
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Out of Place is a group show bringing together eleven European artists who use the urban landscape as a source of creativity, whether through remembering places with a strong personal association, transforming the reality of a city or inventing entirely imaginary places. As so many cities undergo change and regeneration, artists make personal responses to the flux and(...)
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Out of Place is a group show bringing together eleven European artists who use the urban landscape as a source of creativity, whether through remembering places with a strong personal association, transforming the reality of a city or inventing entirely imaginary places. As so many cities undergo change and regeneration, artists make personal responses to the flux and(...)
Titre:
Out of place : memory, imagination and the city
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Out of Place is a group show bringing together eleven European artists who use the urban landscape as a source of creativity, whether through remembering places with a strong personal association, transforming the reality of a city or inventing entirely imaginary places. As so many cities undergo change and regeneration, artists make personal responses to the flux and history of urban life, looking at its lesser-loved and forgotten areas and constructing entire imaginary cities.
Out of place : memory, imagination and the city
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Out of Place is a group show bringing together eleven European artists who use the urban landscape as a source of creativity, whether through remembering places with a strong personal association, transforming the reality of a city or inventing entirely imaginary places. As so many cities undergo change and regeneration, artists make personal responses to the flux and history of urban life, looking at its lesser-loved and forgotten areas and constructing entire imaginary cities.
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livres
livres
Publication:
janvier 1900, 2000
janvier 1900, 2000
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livres
livres
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Since the sixties, the American artist Keith Sonnier has introduced light into his sculptures and installations. In collaboration with architects Baumschlager & Eberle, Sonnier has recently created a light installation for an underground passage in the Munich Re Group building. Neon lighting bathes the corridors in intense colour, thereby taking on a spatial quality. (...)
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Since the sixties, the American artist Keith Sonnier has introduced light into his sculptures and installations. In collaboration with architects Baumschlager & Eberle, Sonnier has recently created a light installation for an underground passage in the Munich Re Group building. Neon lighting bathes the corridors in intense colour, thereby taking on a spatial quality. (...)
Publication:
juillet 2003, Ostfildern-Ruit
juillet 2003, Ostfildern-Ruit
Titre:
Keith Sonnier : sculpture light space
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Since the sixties, the American artist Keith Sonnier has introduced light into his sculptures and installations. In collaboration with architects Baumschlager & Eberle, Sonnier has recently created a light installation for an underground passage in the Munich Re Group building. Neon lighting bathes the corridors in intense colour, thereby taking on a spatial quality. For the new parish church of St. Franciscus in Steyr-Resthof in Upper Austria by the architects Riepl & Rieple, Sonnier developed an all-embracing concept whereby light is the sign of a liturgical venue and constitutes the focal point of an entire neighbourhood.
Keith Sonnier : sculpture light space
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Since the sixties, the American artist Keith Sonnier has introduced light into his sculptures and installations. In collaboration with architects Baumschlager & Eberle, Sonnier has recently created a light installation for an underground passage in the Munich Re Group building. Neon lighting bathes the corridors in intense colour, thereby taking on a spatial quality. For the new parish church of St. Franciscus in Steyr-Resthof in Upper Austria by the architects Riepl & Rieple, Sonnier developed an all-embracing concept whereby light is the sign of a liturgical venue and constitutes the focal point of an entire neighbourhood.
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livres
livres
Publication:
juillet 2003, Ostfildern-Ruit
juillet 2003, Ostfildern-Ruit
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late(...)
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late(...)
Publication:
juillet 2003, London
juillet 2003, London
Titre:
Rachel Whiteread : Haunch of Venison
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late 18th century that was originally the home of Admiral Lord Nelson. Reincarnating the staircase in its negative form, the imposing white sculpture invokes the building's past while reflecting the artist's interest in the formal and purely architectural qualities of sculpture. This inaugural publication features installation views of the exhibition, including additional work dating from 1995 to the present day, as well as two amply illustrated essays and a complete bibliography. The first text considers Whiteread's immense public commissions in relation to their environment; the second outlines the history and techniques involved in creating the cast staircase sculptures.
Rachel Whiteread : Haunch of Venison
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The newly founded gallery Haunch of Venison inaugurates its opening with an exhibition by internationally acclaimed sculptor Rachel Whiteread. The exhibition and accompanying publication feature Whiteread's newest work, Untitled (Domestic), a massive sculpture cast from the fire escape staircases of Haunch of Venison's premises--a 3-storey building constructed in the late 18th century that was originally the home of Admiral Lord Nelson. Reincarnating the staircase in its negative form, the imposing white sculpture invokes the building's past while reflecting the artist's interest in the formal and purely architectural qualities of sculpture. This inaugural publication features installation views of the exhibition, including additional work dating from 1995 to the present day, as well as two amply illustrated essays and a complete bibliography. The first text considers Whiteread's immense public commissions in relation to their environment; the second outlines the history and techniques involved in creating the cast staircase sculptures.
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livres
livres
Publication:
juillet 2003, London
juillet 2003, London
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livres
livres
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$75.00
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Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and(...)
$75.00
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Résumé:
Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and(...)
Publication:
octobre 2003, London
octobre 2003, London
Titre:
Installation art in the new millenium : the empire of the senses
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Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and its far-reaching influence worldwide. The new "immersive" installation reflects a desire for sensual pleasure, as the viewer is totally enveloped in a hermetic and narcissistic artwork, as illustrated by the American artist Doug Aitken and the Japanese artist Kazuo Katase, among others. New dynamics have developed between the artist and institutions, and installation is more than ever an open-ended experiment that transforms the museum into a cultural laboratory, as seen in the work of Hans Haacke. Installation refuses to accept fixed boundaries, and practitioners, such as the Mexican Jose Dávila, are now looking to forge relationships on a global level, collaborating with specialists in other non-art areas. In a rapidly changing world, time and memory become key concerns, and artists such as Christian Boltanksi and Damien Hirst prefer to construct their own spaces of memory. The culmination of these processes has made the audience itself the key site of the installation as witnessed in the works of Vanessa Beecroft, Gary Hill, Mariko Mori, and Bill Viola. This astonishing process returns us to the body, to the spectator, a space that is both sentient and active, the "empire of the senses."
Installation art in the new millenium : the empire of the senses
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Résumé:
Over the past decade installation art has achieved mainstream status within contemporary visual culture. Its ubiquitous presence has given rise to new terms that redefine the art form and impact not just on art, but also on international fashion shows, movie design, and club culture. This volume surveys how installation has evolved, embracing often unexpected media, and its far-reaching influence worldwide. The new "immersive" installation reflects a desire for sensual pleasure, as the viewer is totally enveloped in a hermetic and narcissistic artwork, as illustrated by the American artist Doug Aitken and the Japanese artist Kazuo Katase, among others. New dynamics have developed between the artist and institutions, and installation is more than ever an open-ended experiment that transforms the museum into a cultural laboratory, as seen in the work of Hans Haacke. Installation refuses to accept fixed boundaries, and practitioners, such as the Mexican Jose Dávila, are now looking to forge relationships on a global level, collaborating with specialists in other non-art areas. In a rapidly changing world, time and memory become key concerns, and artists such as Christian Boltanksi and Damien Hirst prefer to construct their own spaces of memory. The culmination of these processes has made the audience itself the key site of the installation as witnessed in the works of Vanessa Beecroft, Gary Hill, Mariko Mori, and Bill Viola. This astonishing process returns us to the body, to the spectator, a space that is both sentient and active, the "empire of the senses."
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livres
livres
Publication:
octobre 2003, London
octobre 2003, London
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livres
livres
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Since the 1990's, Olafur Eliasson has been exploring cognitive and physical phenomena as we know them from the natural sciences and nature. He uses both technically sophisticated equipment and deceptively simple means such as water or light to create artificial landscapes and moments of perception that let viewers perceive or reenact natural phenomena. Their strongly(...)
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Since the 1990's, Olafur Eliasson has been exploring cognitive and physical phenomena as we know them from the natural sciences and nature. He uses both technically sophisticated equipment and deceptively simple means such as water or light to create artificial landscapes and moments of perception that let viewers perceive or reenact natural phenomena. Their strongly(...)
Titre:
Olafur Eliasson : sonne statt regen
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Since the 1990's, Olafur Eliasson has been exploring cognitive and physical phenomena as we know them from the natural sciences and nature. He uses both technically sophisticated equipment and deceptively simple means such as water or light to create artificial landscapes and moments of perception that let viewers perceive or reenact natural phenomena. Their strongly atmospheric but entirely constructed nature makes viewers become painfully conscious of how far modern civilization has progressed from immediate experience; they question the acceptance of authenticity in the area of perception. This book, published in an edition of only 1,500 copies and conceived in cooperation with the artist, features a series of landscape photographs by Eliasson from his native Iceland, exploring the limits and conventions of our traditional view of landscape. They show that our perception of nature has been fundamentally affected by cultural influences, memories, and expectations.
Olafur Eliasson : sonne statt regen
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Since the 1990's, Olafur Eliasson has been exploring cognitive and physical phenomena as we know them from the natural sciences and nature. He uses both technically sophisticated equipment and deceptively simple means such as water or light to create artificial landscapes and moments of perception that let viewers perceive or reenact natural phenomena. Their strongly atmospheric but entirely constructed nature makes viewers become painfully conscious of how far modern civilization has progressed from immediate experience; they question the acceptance of authenticity in the area of perception. This book, published in an edition of only 1,500 copies and conceived in cooperation with the artist, features a series of landscape photographs by Eliasson from his native Iceland, exploring the limits and conventions of our traditional view of landscape. They show that our perception of nature has been fundamentally affected by cultural influences, memories, and expectations.
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livres
livres
Publication:
avril 2003, Munich
avril 2003, Munich
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livres
livres
Titre:
Anish Kapoor : Marsyas
Anish Kapoor : Marsyas
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Anish Kapoor's output ranges from works on a human scale, including powdered pigment sculptures and convex mirrors, to massive installations, both inside buildings and in the landscape. Taking on the challenge of the cavernous space of the Turbine Hall at the Tate Modern in London, Kapoor created his largest sculpture ever: built of PVC membrane, stetched taut across(...)
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Anish Kapoor's output ranges from works on a human scale, including powdered pigment sculptures and convex mirrors, to massive installations, both inside buildings and in the landscape. Taking on the challenge of the cavernous space of the Turbine Hall at the Tate Modern in London, Kapoor created his largest sculpture ever: built of PVC membrane, stetched taut across(...)
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Anish Kapoor : Marsyas
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Anish Kapoor's output ranges from works on a human scale, including powdered pigment sculptures and convex mirrors, to massive installations, both inside buildings and in the landscape. Taking on the challenge of the cavernous space of the Turbine Hall at the Tate Modern in London, Kapoor created his largest sculpture ever: built of PVC membrane, stetched taut across massive steel hoops and hovering in mid-air, the sculpture dominates the space in a way no other artist has attempted. The creative process behind this ambitious project is documented here in specially commissioned photographs, drawings, and maquettes, and further explored in conversations with Kapoor, and Cecil Balmond's essay on the process of engineering this project.
Anish Kapoor : Marsyas
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Anish Kapoor's output ranges from works on a human scale, including powdered pigment sculptures and convex mirrors, to massive installations, both inside buildings and in the landscape. Taking on the challenge of the cavernous space of the Turbine Hall at the Tate Modern in London, Kapoor created his largest sculpture ever: built of PVC membrane, stetched taut across massive steel hoops and hovering in mid-air, the sculpture dominates the space in a way no other artist has attempted. The creative process behind this ambitious project is documented here in specially commissioned photographs, drawings, and maquettes, and further explored in conversations with Kapoor, and Cecil Balmond's essay on the process of engineering this project.
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livres
livres
Publication:
mai 2003, London
mai 2003, London
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livres
livres
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$75.00
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From constructivist textile and clothing designs by Aleksandr Rodchenko and Varvara Stepanova to the soft sculptures of Claes Oldenburg and Louise Bourgeois, twentieth century artists have looked to fabric and other materials to push artistic production beyond the image and the object. Over the past twenty-five years The Fabric Workshop and Museum, an experimental arts(...)
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From constructivist textile and clothing designs by Aleksandr Rodchenko and Varvara Stepanova to the soft sculptures of Claes Oldenburg and Louise Bourgeois, twentieth century artists have looked to fabric and other materials to push artistic production beyond the image and the object. Over the past twenty-five years The Fabric Workshop and Museum, an experimental arts(...)
Publication:
mars 2003, Cambridge / London
mars 2003, Cambridge / London
Titre:
New material as new media : the fabric workhop and museum
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From constructivist textile and clothing designs by Aleksandr Rodchenko and Varvara Stepanova to the soft sculptures of Claes Oldenburg and Louise Bourgeois, twentieth century artists have looked to fabric and other materials to push artistic production beyond the image and the object. Over the past twenty-five years The Fabric Workshop and Museum, an experimental arts laboratory in Philadelphia, has evolved into an influential contemporary art museum with a significant permanent collection, collaborating with artists to redefine the boundaries of fabric and other innovative materials including rubber, industrial felt, fiberglass, horse hair, hog intestine, and plastic as artistic media. This book, which accompanies a twenty-five-year retrospective exhibition from the collection, highlights more than fifty artists' projects. The artists, designers, and architects include Marina Abramovic, Doug Aitken, Louise Bourgeois, Chris Burden, Felix Gonzalez-Torres, Ann Hamilton, Howard Hodgkin, Anish Kapoor, Roy Lichtenstein, Glenn Ligon, Robert Morris, Louise Nevelson, Faith Ringgold, Yinka Shonibare, Gary Simmons, Robert Venturi and Denise Scott Brown, Carrie Mae Weems, Rachel Whiteread, and Yukinori Yanagi.
New material as new media : the fabric workhop and museum
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$75.00
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From constructivist textile and clothing designs by Aleksandr Rodchenko and Varvara Stepanova to the soft sculptures of Claes Oldenburg and Louise Bourgeois, twentieth century artists have looked to fabric and other materials to push artistic production beyond the image and the object. Over the past twenty-five years The Fabric Workshop and Museum, an experimental arts laboratory in Philadelphia, has evolved into an influential contemporary art museum with a significant permanent collection, collaborating with artists to redefine the boundaries of fabric and other innovative materials including rubber, industrial felt, fiberglass, horse hair, hog intestine, and plastic as artistic media. This book, which accompanies a twenty-five-year retrospective exhibition from the collection, highlights more than fifty artists' projects. The artists, designers, and architects include Marina Abramovic, Doug Aitken, Louise Bourgeois, Chris Burden, Felix Gonzalez-Torres, Ann Hamilton, Howard Hodgkin, Anish Kapoor, Roy Lichtenstein, Glenn Ligon, Robert Morris, Louise Nevelson, Faith Ringgold, Yinka Shonibare, Gary Simmons, Robert Venturi and Denise Scott Brown, Carrie Mae Weems, Rachel Whiteread, and Yukinori Yanagi.
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livres
livres
Publication:
mars 2003, Cambridge / London
mars 2003, Cambridge / London
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livres
livres
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$48.00
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"Trespassing: houses x artists" breaks through the conceptual boundaries that have historically divided art and architecture to describe new strategies of conceiving private space. In their individual collaborations with architects Alan Koch and Linda Taalman of OpenOffice, nine contemporary artists radically reinvent how domestic space is created and inhabited. The(...)
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"Trespassing: houses x artists" breaks through the conceptual boundaries that have historically divided art and architecture to describe new strategies of conceiving private space. In their individual collaborations with architects Alan Koch and Linda Taalman of OpenOffice, nine contemporary artists radically reinvent how domestic space is created and inhabited. The(...)
Publication:
janvier 1900, Ostfildern-Ruit
janvier 1900, Ostfildern-Ruit
Titre:
Trespassing : houses x artists
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$48.00
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"Trespassing: houses x artists" breaks through the conceptual boundaries that have historically divided art and architecture to describe new strategies of conceiving private space. In their individual collaborations with architects Alan Koch and Linda Taalman of OpenOffice, nine contemporary artists radically reinvent how domestic space is created and inhabited. The resulting works are open-ended, representing a new approach to visualizing form rather than a final product or conceptual destination. Includes work by: T. Kelly Mason, David Reed, Peter Noever, Renee Petropoulos, Julian Opie, Jessica Stockholder, Jim Isermann, Chris Burden, Barbara Bloom, Kevin Appel amongst others.
Trespassing : houses x artists
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"Trespassing: houses x artists" breaks through the conceptual boundaries that have historically divided art and architecture to describe new strategies of conceiving private space. In their individual collaborations with architects Alan Koch and Linda Taalman of OpenOffice, nine contemporary artists radically reinvent how domestic space is created and inhabited. The resulting works are open-ended, representing a new approach to visualizing form rather than a final product or conceptual destination. Includes work by: T. Kelly Mason, David Reed, Peter Noever, Renee Petropoulos, Julian Opie, Jessica Stockholder, Jim Isermann, Chris Burden, Barbara Bloom, Kevin Appel amongst others.
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livres
livres
Publication:
janvier 1900, Ostfildern-Ruit
janvier 1900, Ostfildern-Ruit
Classification:
livres
livres
Titre:
Gordon Matta-Clark
Gordon Matta-Clark
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This ‘deconstructing’ gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark’s interventions are(...)
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This ‘deconstructing’ gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark’s interventions are(...)
Publication:
avril 2003, London
avril 2003, London
Titre:
Gordon Matta-Clark
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This ‘deconstructing’ gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark’s interventions are always grounded in social or political convictions. Some of his projects include opening a restaurant (Food, 1971)in the then-neglected district of SoHo in New York, purchasing at auction fractions of unusable urban land in New York (Reality Properties: Fake Estates, 1973), dispensing oxygen to passersby in the streets of New York from a self-made cart (Fresh Air Cart, 1972), and other visionary urban projects that he conceived as a founding member of the New York-based Anarchitecture group. His practice remains one of the most unique, unequalled, and hugely influential of the past decades. A richly documented essay by Professor Thomas Crow presents new perspectives on the work of the artist. Also included are original essays by Judith Russi Kirshner and Christian Kravagna, as well as a ‘Documents’ section composed of key unpublished and hard-to-find essays and interviews, compiled by editor Corinne Diserens.
Gordon Matta-Clark
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Born in New York and trained in architecture, Gordon Matta-Clark is most famous for his slicing through façades, walls and floors of derelict buildings. This ‘deconstructing’ gesture, provocative and extreme, turns architecture into astonishing sculptures, where the mass of the building is entwined with the light and air that penetrate it. Matta-Clark’s interventions are always grounded in social or political convictions. Some of his projects include opening a restaurant (Food, 1971)in the then-neglected district of SoHo in New York, purchasing at auction fractions of unusable urban land in New York (Reality Properties: Fake Estates, 1973), dispensing oxygen to passersby in the streets of New York from a self-made cart (Fresh Air Cart, 1972), and other visionary urban projects that he conceived as a founding member of the New York-based Anarchitecture group. His practice remains one of the most unique, unequalled, and hugely influential of the past decades. A richly documented essay by Professor Thomas Crow presents new perspectives on the work of the artist. Also included are original essays by Judith Russi Kirshner and Christian Kravagna, as well as a ‘Documents’ section composed of key unpublished and hard-to-find essays and interviews, compiled by editor Corinne Diserens.
Classification:
livres
livres
Publication:
avril 2003, London
avril 2003, London
