4347 Résultats
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the(...)
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the(...)
Publication:
septembre 2012
septembre 2012
Titre:
Alternative histories: New York art spaces 1960 to 2010
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites--including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others--that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.
Alternative histories: New York art spaces 1960 to 2010
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This publication documents more than 130 alternative spaces, groups, and projects, and the significant contributions these organizations have made to the aesthetic and social fabric of New York City. Alternative art spaces offer sites for experimentation for artists to innovate, perform, and exhibit outside the commercial gallery-and-museum circuit. In New York City, the development of alternative spaces was almost synonymous with the rise of the contemporary art scene. Beginning in the 1960s and early 1970s, it was within a network of alternative sites--including 112 Greene Street, The Kitchen, P.S.1, FOOD, and many others--that the work of young artists like Yvonne Rainer, Vito Acconci, Gordon Matta-Clark, Ana Mendieta, David Wojnarowicz, David Hammons, Adrian Piper, Martin Wong, Jimmie Durham, and dozens of other now familiar names first circulated. Through interviews, photographs, essays, and archival material, Alternative Histories tells the story of such famous sites and organizations as Judson Memorial Church, Anthology Film Archives, A.I.R. Gallery, El Museo del Barrio, Franklin Furnace, and Eyebeam, as well as many less well-known sites and organizations. Essays by the exhibition curators and scholars, and excerpts of interviews with alternative space founders and staff, provide cultural and historical context.
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livres
livres
Publication:
septembre 2012
septembre 2012
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livres
livres
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse.(...)
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse.(...)
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CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse. Rassemblant des heures de séquences de film rejetées, Hila Peleg remet en question la notion de documentation et ramène à la vue les contextes physiques et sociaux – l’espace relationnel – des interventions de Matta-Clark. Et à partir de centaines de photographies de voyage, Kitty Scott dresse, en contrepoint aux oeuvres de Matta-Clark, un panorama de ses notes visuelles sur le monde qui l’entoure. En mettant au premier plan des éléments apparemment secondaires de la collection, ces études manifestent une approche exploratoire des archives, dans laquelle la sélection, la présentation et l’écriture relèvent d’un processus de recherche continue. Plus qu’une synthèse, CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott propose d’élargir la portée de ce qui constitue l’oeuvre de Matta-Clark et ainsi le terrain physique et intellectuel dans lequel elle se situe.
CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott
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Cet ouvrage déballe l’exhaustive collection Gordon Matta-Clark au CCA (CP138), en l’ouvrant à des interprétations provisoires issues de points de vue différents. Yann Chateigné réorganise la bibliothèque de Matta-Clark pour y recueillir les traces – écrites et dessinées – de sa pensée au travers de champs d’investigation structurants, de l’alchimie à la psychanalyse. Rassemblant des heures de séquences de film rejetées, Hila Peleg remet en question la notion de documentation et ramène à la vue les contextes physiques et sociaux – l’espace relationnel – des interventions de Matta-Clark. Et à partir de centaines de photographies de voyage, Kitty Scott dresse, en contrepoint aux oeuvres de Matta-Clark, un panorama de ses notes visuelles sur le monde qui l’entoure. En mettant au premier plan des éléments apparemment secondaires de la collection, ces études manifestent une approche exploratoire des archives, dans laquelle la sélection, la présentation et l’écriture relèvent d’un processus de recherche continue. Plus qu’une synthèse, CP138 Gordon Matta-Clark : Les archives revues par Yann Chateigné, Hila Peleg et Kitty Scott propose d’élargir la portée de ce qui constitue l’oeuvre de Matta-Clark et ainsi le terrain physique et intellectuel dans lequel elle se situe.
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livres
livres
Publication:
juillet 2020
juillet 2020
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Publications du CCA
Publications du CCA
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audio
audio
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1 online resource.
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[Place of publication not identified] : Junior Aspirin Records, 2017.
[Place of publication not identified] : Junior Aspirin Records, 2017.
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audio
audio
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[Place of publication not identified] : Junior Aspirin Records, 2017.
[Place of publication not identified] : Junior Aspirin Records, 2017.
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archives
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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Jean-Louis Cohen fonds, 1968-2023
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
Jean-Louis Cohen fonds, 1968-2023
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists(...)
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists(...)
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Simon Starling : Nachbau / Reconstruction
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists such as Matisse and CEzanne--were declared ""degenerate"" and locked away by the Nazi government. The museum itself was destroyed in 1944 and 1945, rebuilt after the war, and is now about to be partially demolished once again in the course of renovations. Working in the museum's confines, using four photographs of its galleries taken between 1929 and 1944 by Albert Renger-Patzsch, (a key photographer in the ""Neue Sachlichkeit,"" or ""New Objectivity""), Starling reconstructs that era's art placement and surroundings in a detailed, film set-like installation, bringing this charged historical background forward into the present. This two-volume artist's book on the project documents and elaborates on the installation and ideas it explores: the continuities, transformations and alterations that the artist shows shaping art and history. Simon Starling, born in Surrey in 1967, lives and works in Glasgow.
Simon Starling : Nachbau / Reconstruction
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In Nachbau, the Turner Prize-winning artist Simon Starling delves into the presentation of art in shifting historical and architectural contexts. His starting point is the Museum Folkwang in Essen, Germany, one of the first to specialize in Modern art, founded at the beginning of the last century. In 1937, some 1,400 works from its collection--including pieces by artists such as Matisse and CEzanne--were declared ""degenerate"" and locked away by the Nazi government. The museum itself was destroyed in 1944 and 1945, rebuilt after the war, and is now about to be partially demolished once again in the course of renovations. Working in the museum's confines, using four photographs of its galleries taken between 1929 and 1944 by Albert Renger-Patzsch, (a key photographer in the ""Neue Sachlichkeit,"" or ""New Objectivity""), Starling reconstructs that era's art placement and surroundings in a detailed, film set-like installation, bringing this charged historical background forward into the present. This two-volume artist's book on the project documents and elaborates on the installation and ideas it explores: the continuities, transformations and alterations that the artist shows shaping art and history. Simon Starling, born in Surrey in 1967, lives and works in Glasgow.
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livres
livres
Publication:
juillet 2007, Essen
juillet 2007, Essen
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livres
Titre:
L'esprit d'escalier
L'esprit d'escalier
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly(...)
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly(...)
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L'esprit d'escalier
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly (i.e. when already descending the stairs): "I should've said (fill in blank)!" etc. One of Demand's ironic allusions to his title is a new work titled "Landing," which shows the shards of broken Qing vases on a staircase--a mishap caused by a visitor to The Fitzwilliam Museum Cambridge in January 2006, who stumbled on his shoelaces and crashed into the three eighteenth-century vases, smashing them to pieces. As ever, Demand combines conceptual rigor and exacting craft in his painstakingly re-created sets, with their eerie edge of artifice. L'Esprit d'Escalier presents an overview of his current work in 23 large photographs, plus a film project and an architectural installation specially prepared for his Irish Museum exhibition. Alongside an excerpt from David Foster Wallace's Girl with Curious Hair, it also includes commissioned writings by Dave Eggers, Paul Oliver, Caoimhin Mac Giolla Leith, Rachael Thomas and Enrique Juncosa.
L'esprit d'escalier
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Stairs, ladders and lifts are the motifs of Thomas Demand's latest monograph, L'Esprit d'Escalier, which is published on the occasion of his show at the Irish Museum of Modern Art in Dublin. The title actually refers to so-called "staircase wit," that concise French expression for the chagrin of missed retorts--those hapless comebacks one only ever thinks up belatedly (i.e. when already descending the stairs): "I should've said (fill in blank)!" etc. One of Demand's ironic allusions to his title is a new work titled "Landing," which shows the shards of broken Qing vases on a staircase--a mishap caused by a visitor to The Fitzwilliam Museum Cambridge in January 2006, who stumbled on his shoelaces and crashed into the three eighteenth-century vases, smashing them to pieces. As ever, Demand combines conceptual rigor and exacting craft in his painstakingly re-created sets, with their eerie edge of artifice. L'Esprit d'Escalier presents an overview of his current work in 23 large photographs, plus a film project and an architectural installation specially prepared for his Irish Museum exhibition. Alongside an excerpt from David Foster Wallace's Girl with Curious Hair, it also includes commissioned writings by Dave Eggers, Paul Oliver, Caoimhin Mac Giolla Leith, Rachael Thomas and Enrique Juncosa.
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livres
livres
Publication:
juillet 2007, Dublin
juillet 2007, Dublin
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Campo Santo
Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own(...)
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own(...)
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Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own curmudgeonly presence. The essays, however, feel unfinished, lacking polish and structural integrity. The collection is split into two parts, "Prose" and "Essays," with the first—a series of considerations of the landscape, history and social milieu of the island of Corsica—by far the more successful. The second, longer section contains an assortment of literary critical pieces, some detailed, such as a long essay about novelists writing about the destruction of German cities during WWII; others discursive, such as an apparently unfinished review of a book about Kafka's relationship with film that wanders from films Sebald himself viewed to films Kafka may or may not have seen. Although Sebald was a beautiful and intelligent writer, it's hard to see how these essays will appeal to anyone outside of scholars and already committed Sebald fans eager to read every word he ever set to paper.
Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own curmudgeonly presence. The essays, however, feel unfinished, lacking polish and structural integrity. The collection is split into two parts, "Prose" and "Essays," with the first—a series of considerations of the landscape, history and social milieu of the island of Corsica—by far the more successful. The second, longer section contains an assortment of literary critical pieces, some detailed, such as a long essay about novelists writing about the destruction of German cities during WWII; others discursive, such as an apparently unfinished review of a book about Kafka's relationship with film that wanders from films Sebald himself viewed to films Kafka may or may not have seen. Although Sebald was a beautiful and intelligent writer, it's hard to see how these essays will appeal to anyone outside of scholars and already committed Sebald fans eager to read every word he ever set to paper.
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livres
livres
Publication:
janvier 1900, New York
janvier 1900, New York
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livres soldés
livres soldés
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livres
livres
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Greg Lynn Form
Greg Lynn Form
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Greg Lynn FORM has been at the cutting edge of design in the field of architecture when comes to the use of computer-aided design. The projects, publications, teachings and writings associated with the office have been influential in the acceptance and use of advanced technology for design and fabrication. Greg Lynn FORM was established in 1994 in Iloboken , NJ and(...)
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Greg Lynn FORM has been at the cutting edge of design in the field of architecture when comes to the use of computer-aided design. The projects, publications, teachings and writings associated with the office have been influential in the acceptance and use of advanced technology for design and fabrication. Greg Lynn FORM was established in 1994 in Iloboken , NJ and(...)
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Greg Lynn Form
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Greg Lynn FORM has been at the cutting edge of design in the field of architecture when comes to the use of computer-aided design. The projects, publications, teachings and writings associated with the office have been influential in the acceptance and use of advanced technology for design and fabrication. Greg Lynn FORM was established in 1994 in Iloboken , NJ and relocated to Venice, California in 1998 to take advantage of the knowledge and technology resources in both the manufacturing and entertainment industries of Southern California. The office is a design forward team that combines a unique specialization in exotic form and a creative ease and expertise with cutting edge design, manufacturing and construction techniques germane to the aeronautic, automobile and film industries of Southern California . The office is especially experienced in collaborative partnerships on international projects ranging from boutique interiors to public housing. Most recently the office collaborated with 5 well known design firms in a team called United Architects and submitted one of the the proposals for the World Trade center competition. Greg Lynn FORM is committed to design quality and innovation with the ability to take leadership roles within interdisciplinary design teams that fuse a variety of expert knowledge and resources.
Greg Lynn Form
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Greg Lynn FORM has been at the cutting edge of design in the field of architecture when comes to the use of computer-aided design. The projects, publications, teachings and writings associated with the office have been influential in the acceptance and use of advanced technology for design and fabrication. Greg Lynn FORM was established in 1994 in Iloboken , NJ and relocated to Venice, California in 1998 to take advantage of the knowledge and technology resources in both the manufacturing and entertainment industries of Southern California. The office is a design forward team that combines a unique specialization in exotic form and a creative ease and expertise with cutting edge design, manufacturing and construction techniques germane to the aeronautic, automobile and film industries of Southern California . The office is especially experienced in collaborative partnerships on international projects ranging from boutique interiors to public housing. Most recently the office collaborated with 5 well known design firms in a team called United Architects and submitted one of the the proposals for the World Trade center competition. Greg Lynn FORM is committed to design quality and innovation with the ability to take leadership roles within interdisciplinary design teams that fuse a variety of expert knowledge and resources.
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livres
livres
Publication:
janvier 2007, Beijing
janvier 2007, Beijing
Sujet:
Architecture, monographies
Architecture, monographies
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livres
livres
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity(...)
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity(...)
Titre:
Central European avant-gardes : exchange and transformation, 1910-1930
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb.
Central European avant-gardes : exchange and transformation, 1910-1930
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"Central European Avant-Gardes" presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. The borders between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb.
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livres
livres
Publication:
mai 2002, Cambridge, Mass.
mai 2002, Cambridge, Mass.
Sujet:
Modernisme
Modernisme
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livres
livres
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How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters(...)
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How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters(...)
Titre:
Crime: a series of interviews
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How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters had their own effect on organized crime? And what experience do these people who mold our perceptions of crime and criminals have of the real thing? This remarkable book is the first to explore our images of crime by interviewing those involved on, in and around all sides of the law, both real and fictional, and often somewhere in between. Through a series of exclusive interviews with artists, authors and actors such as Ben Affleck, David Cronenberg, Elmore Leonard, Viggo Mortensen, Ice-T, David Mamet and Takeshi Kitano, as well as real life bank robbers, gangsters and current prison inmates, editor Alix Lambert (artist, photographer of Russian prisoners’ tattoos and writer for HBO’s Deadwood) explores the gaps and overlaps between real crime and its representation in the arts, each commenting on and assessing the impact of the other.
Crime: a series of interviews
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$51.00
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Résumé:
How much do criminal acts and their representation in cinema, literature and music really have in common? Is the execution of crime in everyday life as appealing or as inspired as creative artists have made it seem since, say, Arthur Conan Doyle’s Professor Moriarty? Does the film industry continue to learn from the real-life Mafia, or have the imaginings of scriptwriters had their own effect on organized crime? And what experience do these people who mold our perceptions of crime and criminals have of the real thing? This remarkable book is the first to explore our images of crime by interviewing those involved on, in and around all sides of the law, both real and fictional, and often somewhere in between. Through a series of exclusive interviews with artists, authors and actors such as Ben Affleck, David Cronenberg, Elmore Leonard, Viggo Mortensen, Ice-T, David Mamet and Takeshi Kitano, as well as real life bank robbers, gangsters and current prison inmates, editor Alix Lambert (artist, photographer of Russian prisoners’ tattoos and writer for HBO’s Deadwood) explores the gaps and overlaps between real crime and its representation in the arts, each commenting on and assessing the impact of the other.
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livres
livres
Publication:
juin 2008, London
juin 2008, London
Sujet:
Théorie de l’art
Théorie de l’art
