Sono stati trovati 40 prodotti corrispondenti alla tua ricerca per boetzkes in 5 negozi:

Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. In The Ethics of Earth Art, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. Boetzkes contends that in basing their works' relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work-film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows-earth artists articulate the dilemma of representation that nature presents. Revealing the fundamental difference between the human world and the earth, Boetzkes shows that earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.

Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. Though most often associated with monumental land-based sculptures, earth art encompasses a wide range of media, from sculpture, body art performances, and installations to photographic interventions, public protest art, and community projects. In The Ethics of Earth Art, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi Ikeda are connected through their elucidation of the earth as a domain of ethical concern. Boetzkes contends that in basing their works' relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature. By incorporating receptive surfaces into their work-film footage of glaring sunlight, an aperture in a chamber that opens to the sky, or a porous armature on which vegetation grows-earth artists articulate the dilemma of representation that nature presents. Revealing the fundamental difference between the human world and the earth, Boetzkes shows that earth art mediates the sensations of nature while allowing nature itself to remain irreducible to human signification.

An argument for the centrality of the visual culture of waste-as seen in works by international contemporary artists-to the study of our ecological condition.\n\nEcological crisis has driven contemporary artists to engage with waste in its most non-biodegradable forms: plastics, e-waste, toxic waste, garbage hermetically sealed in landfills. In this provocative and original book, Amanda Boetzkes links the increasing visualization of waste in contemporary art to the rise of the global oil economy and the emergence of ecological thinking. Often, when art is analyzed in relation to the political, scientific, or ecological climate, it is considered merely illustrative. Boetzkes argues that art is constitutive of an ecological consciousness, not simply an extension of it. The visual culture of waste is central to the study of the ecological condition. \n\nBoetzkes examines a series of works by an international roster of celebrated artists, including Thomas Hirschhorn, Francis Alys, Song Dong, Tara Donovan, Agnes Varda, Gabriel Orozco, and Mel Chin, among others, mapping waste art from its modernist origins to the development of a new waste imaginary generated by contemporary artists. Boetzkes argues that these artists do not offer a predictable or facile critique of consumer culture. Bearing this in mind, she explores the ambivalent relationship between waste (both aestheticized and reviled) and a global economic regime that curbs energy expenditure while promoting profitable forms of resource consumption.

An argument for the centrality of the visual culture of waste-as seen in works by international contemporary artists-to the study of our ecological condition.\n\nEcological crisis has driven contemporary artists to engage with waste in its most non-biodegradable forms: plastics, e-waste, toxic waste, garbage hermetically sealed in landfills. In this provocative and original book, Amanda Boetzkes links the increasing visualization of waste in contemporary art to the rise of the global oil economy and the emergence of ecological thinking. Often, when art is analyzed in relation to the political, scientific, or ecological climate, it is considered merely illustrative. Boetzkes argues that art is constitutive of an ecological consciousness, not simply an extension of it. The visual culture of waste is central to the study of the ecological condition. \n\nBoetzkes examines a series of works by an international roster of celebrated artists, including Thomas Hirschhorn, Francis Alys, Song Dong, Tara Donovan, Agnes Varda, Gabriel Orozco, and Mel Chin, among others, mapping waste art from its modernist origins to the development of a new waste imaginary generated by contemporary artists. Boetzkes argues that these artists do not offer a predictable or facile critique of consumer culture. Bearing this in mind, she explores the ambivalent relationship between waste (both aestheticized and reviled) and a global economic regime that curbs energy expenditure while promoting profitable forms of resource consumption.

A guide to one of the greatest artists of all time; compact and up to date.\n\nThese pages are intended as a compact up-to-date guide for readers wishing to find out more about one of the greatest artistic geniuses of all times, an artist epitomising the highest ideals of the age of Humanism whose complex personality challenges even the experts in this field of studies.

A guide to one of the greatest artists of all time; compact and up to date.\n\nThese pages are intended as a compact up-to-date guide for readers wishing to find out more about one of the greatest artistic geniuses of all times, an artist epitomising the highest ideals of the age of Humanism whose complex personality challenges even the experts in this field of studies.

the sssnake Powercord UK C13 1,5m, Cavo@+, Da spina ad angolo retto BS (inglese) a presa di corrente C13, Con fusibile da 13 A nella spina, Lunghezza: 1,5 m, Colore: nero

L'assordante canto delle cicale negli uliveti inondati di sole, il lento fluire delle onde, una melodia nostalgica che fa capolino e poi scompare da un'auto di passaggio in lontananza, l'assoluta noncuranza per il passare del tempo negli occhi degli uomini seduti ai tavolini di un caffè all'aperto... tutto questo esiste sono in Grecia, e in nessun altro posto al mondo. Certo Rodi è un po' più turistica e moderna rispetto alla miriade di isolette sperdute nell'Egeo, ma se vi addentrerete nella sua zona più meridionale, incontrerete anche qui lo charme dei tempi antichi. Scoprite quest'isola meravigliosa e sedetevi in una taverna in mezzo alla gente del posto: ne vale senz'altro la pena!

L'assordante canto delle cicale negli uliveti inondati di sole, il lento fluire delle onde, una melodia nostalgica che fa capolino e poi scompare da un'auto di passaggio in lontananza, l'assoluta noncuranza per il passare del tempo negli occhi degli uomini seduti ai tavolini di un caffè all'aperto... tutto questo esiste sono in Grecia, e in nessun altro posto al mondo. Certo Rodi è un po' più turistica e moderna rispetto alla miriade di isolette sperdute nell'Egeo, ma se vi addentrerete nella sua zona più meridionale, incontrerete anche qui lo charme dei tempi antichi. Scoprite quest'isola meravigliosa e sedetevi in una taverna in mezzo alla gente del posto: ne vale senz'altro la pena!

pro snake NRK 2, Power Cord, Length: 2 m, For Roland and Korg keyboards (also suitable for Revox devices), 2-Pin

the sssnake Mains Power Cable 5m, Cavo di alimentazione, Spina con messa a terra verso adattatore IEC, entrambi diritti, Lunghezza: 5 m, Colore: nero

the sssnake EU Power Cable 1.5m, EU Power cable, Length: 1.5 m, With safety plug to straight IEC coupling, 3 x 0.75 mm²

10 approfondimenti per saperne di più: Fra merli e torri: le mura di Rodi; Il quartiere ebraico di Rodi: la Sinagoga di Kahal Shalom; Architettura tradizionale: Koskinoú; Una chiesa paleocristiana: il Katholikon di Afándou; Poesia marinara: le case dei capitani a Lindos; La Bibbia illustrata: gli affreschi nella chiesa di Asklipfo; A caccia di farfalle: nella valle di Petaloúdes; La produzione del vino a Rodi: retsina & Co.; Sulle tracce dei pescatori di spugne di Symi; Dove dorme Polibete: il vulcano di Nissyros.