Niemojewski Rafal (28 results)

Paperback. Condition: Fine.

Condition: New.

Paperback. Condition: New. Biennials: The Exhibitions We Love to Hate examines one of the most signi­ficant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfi­guring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums' acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. …

Paperback. Condition: New. Biennials: The Exhibitions We Love to Hate examines one of the most signi­ficant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfi­guring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums' acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. …

Condition: As New. Unread book in perfect condition.

Condition: good. Book is in good condition and may include underlining highlighting and minimal wear. The book can also include "From the library of" labels. May not contain miscellaneous items toys, dvds, etc. . We offer 100% money back guarantee and 24 7 customer service.

Paperback. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Brand New. 144 pages. 7.75x5.25x0.50 inches. In Stock.

Paperback. Condition: new. Paperback. Biennials: The Exhibitions We Love to Hate examines one of the most significant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfiguring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. Biennials: The Exhibitions we Love to Hate offers a critical assessment of the current discussions around the subject of contemporary biennials and how these might be used to illuminate potential new approaches in this area of study. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condition: New. In English.

HARDCOVER. Condition: VERY GOOD. NONE. NO DUST JACKET AS ISSUED~AN EXTREMELY CLEAN AND BRIGHT UNMARKED COPY OF THIS BOOK.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Condition: New. 2021. Paperback. . . . . .

Condition: New. 2021. Paperback. . . . . . Books ship from the US and Ireland.

Condition: New. Brand New.

Paperback. Condition: New. Biennials: The Exhibitions We Love to Hate examines one of the most signi­ficant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfi­guring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums' acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. …

Paperback. Condition: new. Paperback. Biennials: The Exhibitions We Love to Hate examines one of the most significant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfiguring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. Biennials: The Exhibitions we Love to Hate offers a critical assessment of the current discussions around the subject of contemporary biennials and how these might be used to illuminate potential new approaches in this area of study. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Condition: New. Biennials: The Exhibitions We Love to Hate examines one of the most signi­ficant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfi­guring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums' acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. …

Soft cover. Condition: Very Good. Book is in very good condition. 568pp. One volume only.

Paperback. Condition: Acceptable. Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. PAPERBACK Standard-sized.

Soft cover. Condition: New.

Condition: Good. Please note: below is a general description of how we classify our condition types. If you would like a closer look or have any specific questions, please feel free to send us a message, and we will gladly check it for you. Condition descriptions: UsedlikeNew: Barely any signs of use, almost like new. UsedGood: May show some light signs of use, such as slight discoloration or a name written on the front endpaper, but generally no markings or notes in the text. UsedAcceptable: Book in acceptable condition. May show signs of use, such as some discoloration, reading creases in the spine, underlining, notes, slight dirt on edges, dog-eared pages, or a bent spine. New: Book is new. Z 53-20 EA.…

Paperback. Condition: Brand New. 100 pages. 11.00x8.50x0.24 inches. This item is printed on demand.

Paperback. Condition: new. Paperback. Biennials: The Exhibitions We Love to Hate examines one of the most significant recent transitions in the contemporary-art world: the proliferation of large-scale international recurrent survey shows of contemporary art, commonly referred to as contemporary biennials. Since the mid-1980s biennials have been instrumental in shaping curating as an autonomous practice. They have also been responsible for substantially reconfiguring the art world and disrupting the existing value chain of the art market, which now relies on biennials as much as it does on major museums acquisitions and exhibitions.At the same time, the arrival of new biennials in various parts of the world has also been associated with some of the most palpable side-effects of globalization. Branded by some critics as dollar-generating leisure events and showcases for highly consumable works of art, biennials have been repeatedly accused of homogenizing artistic and curatorial practices and leading to a certain fatigue. This publication makes an essential contribution to a fascinating cultural debate. Biennials: The Exhibitions we Love to Hate offers a critical assessment of the current discussions around the subject of contemporary biennials and how these might be used to illuminate potential new approaches in this area of study. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…