Peter Kennard (110 results)

Condition: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Paperback. Condition: Used; Good. Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover.

Paperback. Condition: Very Good. Images for End of Century: Photomontages Equations by Peter Kennard. Pluto Press, 1991. 128pp. Language: English. Note: Note: Gently used with minor wear.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condition: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Good. The book has been read but remains in clean condition. All pages are intact and the cover is intact. Some minor wear to the spine.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condition: Very Good. Most items will be dispatched the same or the next working day. A copy that has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

paperback. Condition: Very Good. Most of our very good books have only minor imperfections such as shelf wear consistent with a new book that's sat on a bookshop shelf for a year or two. Occasionally we may miss other minor imperfections as we have to grade books at speed. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.

Paperback. Condition: 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 PAPERBACK Standard-sized.

Softcover. Condition: Near Fine. Dust Jacket Condition: N/A. Unpaginated, illustrated throughout. Pictorial light card covers. 8vo. Internally, neat, clean, bright and tight.

Soft cover. Condition: Very Good. 20 pages. Illustrated. Gavin Jantjes / The Korabra Series / The Zulu Series / Max Mara Art Prize for Women / Peter Kennard (SL#256).

Paperback. Condition: Brand New. reprint edition. 80 pages. 7.75x4.50x0.50 inches. In Stock.

Condition: very good. Gently used. May include previous owner's signature or bookplate on the front endpaper, sticker on back and/or remainder mark on text block.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Soft cover. Condition: Poor. I can't work out if the cover over the spine is missing or it was bound like that! Otherwise in very good condition.

Paper Back. Condition: Very Good. Contains b/w photographs. The book is a little worn. Books listed here are not stored at the shop. Please contact us if you want to pick up a book from Newtown.

Condition: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.

Condition: New.

Paperback. Condition: new. Paperback. 'Peter Kennard perfectly captures the brutal asymmetries of our age' - Naomi Klein This fully illustrated anthology showcases key images from Peter Kennard's work as Britain's foremost political artist over the last fifty years. The book centres around Kennard's images, photomontages and illustrations from protests, year by year, which provoked public outrage; including Israel/Palestine protests, anti-nuclear protests, responses to austerity, climate destruction, and more. Each image is accompanied by captions detailing not only the events in question but also Kennard's approach to the work, including the genesis of the images and the techniques employed. Ultimately, the book highlights Kennard's extraordinary contribution to political art in the twenty-first century. 50 years of hard-hitting protest art from Britains foremost political artist Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. 'Peter Kennard perfectly captures the brutal asymmetries of our age' - Naomi KleinThis fully illustrated anthology showcases key images from Peter Kennard's work as Britain's foremost political artist over the last fifty years.The book centres around Kennard's images, photomontages and illustrations from protests, year by year, which provoked public outrage; including Israel/Palestine protests, anti-nuclear protests, responses to austerity, climate destruction, and more. Each image is accompanied by captions detailing not only the events in question but also Kennard's approach to the work, including the genesis of the images and the techniques employed. Ultimately, the book highlights Kennard's extraordinary contribution to political art in the twenty-first century.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: As New. Unread book in perfect condition.

Condition: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,400grams, ISBN:9781904897712.

Paperback. Condition: new. Paperback. In 1968, amid the anti-Vietnam War demonstrations in London and the global upheavals that followed, Peter Kennard turned from painting to photomontage in search of a more direct political language. STOP emerged from that moment.Working with images drawn from newspapers and magazines civil rights marchers, bombed landscapes, military parades, protest crowds Kennard re-photographed, layered, scratched and overlaid them with autographic marks. The result is neither documentary nor illustration, but a sustained visual argument. Across its pages, production and destruction collapse into one field: factory and battlefield, crowd and target, machine and flesh.This is an entirely visual book, yet it asks to be read. Images recur and fracture. Blots, scratches and stencilled marks disrupt photographic realism, breaking pictures down to the minimum signs of human presence in struggle. The viewer is not offered explanation or consolation. Instead, the work demands active engagement a recognition of the systems that organise violence as routine and normal.First conceived in the wake of 1968 and developed over many years, drawing on struggles in Vietnam, South Africa, Northern Ireland, Chile, Palestine and elsewhere, STOP remains disturbingly current. It does not present war as aberration but as method; not peace as resolution but as managed inequality.The books title is neither slogan nor sentiment. It is a demand made in full knowledge of the apparatus it confronts and of what it would take, materially and collectively, to bring it to an end. Peter Kennard is one of Britains leading political artists. For over five decades his work has shaped the visual culture of protest, addressing war, nuclear weapons and state violence. His work is held in major collections throughout the world. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. In 1968, amid the anti-Vietnam War demonstrations in London and the global upheavals that followed, Peter Kennard turned from painting to photomontage in search of a more direct political language. STOP emerged from that moment.Working with images drawn from newspapers and magazines - civil rights marchers, bombed landscapes, military parades, protest crowds - Kennard re-photographed, layered, scratched and overlaid them with autographic marks. The result is neither documentary nor illustration, but a sustained visual argument. Across its pages, production and destruction collapse into one field: factory and battlefield, crowd and target, machine and flesh.This is an entirely visual book, yet it asks to be read. Images recur and fracture. Blots, scratches and stencilled marks disrupt photographic realism, breaking pictures down to the minimum signs of human presence in struggle. The viewer is not offered explanation or consolation. Instead, the work demands active engagement - a recognition of the systems that organise violence as routine and normal.First conceived in the wake of 1968 and developed over many years, drawing on struggles in Vietnam, South Africa, Northern Ireland, Chile, Palestine and elsewhere, STOP remains disturbingly current. It does not present war as aberration but as method; not peace as resolution but as managed inequality.The book's title is neither slogan nor sentiment. It is a demand made in full knowledge of the apparatus it confronts - and of what it would take, materially and collectively, to bring it to an end.