35 products were found matching your search for lieven in 3 shops:

Dutchman Jan Dibbets (b. 1941) is one of the principal artists to have introduced photography into the plastic arts. Beginning in 1967, he embarked on a long-range project that, as we advance into the twenty-first century, he seems not to have abandoned: the "pictorializing" of photography. At a time when photography has massively invaded contemporary art institutions―not without generating confusion and excess―it is possible to lose track of how radical Dibbets's approach was. This radicalism has nothing to do with modernist overkill. Dibbets did not merely go further than others; he went elsewhere. This books covers almost fifty years of his photographic oeuvre.

Farmhouse Rustic Retro Table lamps: The bedroom lamps are made from antique-style beige washed resin and come with linen fabric lampshades, featuring unique vintage textures that offers charmingly retro aesthetic appeal. The classic design of lamps brings an elegant and sophisticated feel to your home space, easily complementing various interior styles such as Nordic, simple, country and minimalist. The farmhouse lamps are perfect for end tables, desks, beside sofas and dressers.

Impart a classic elegance to your space with the rustic opulence of the Lieven accent wall mirror. Made in China, this glamorous piece consists of a solid metal frame fitted with a large central mirror. Scalloped corners create a geometrically pleasing silhouette, while ringed accents along the frame create a display reminiscent of bamboo. The Lieven will arrive fully assembled and is wall-mountable. An endowment of unassuming luxury, the Lieven brings a remarkable aura to any interior.

Farmhouse Rustic Retro Table lamps: The bedroom lamps are made from antique-style beige washed resin and come with linen fabric lampshades, featuring unique vintage textures that offers charmingly retro aesthetic appeal. The classic design of lamps brings an elegant and sophisticated feel to your home space, easily complementing various interior styles such as Nordic, simple, country and minimalist. The farmhouse lamps are perfect for end tables, desks, beside sofas and dressers.

Photographic images can, apart from their capacity to show, convey an experience, a quality that has seldom been recognized. In this book, the artist and photographer Maarten Vanvolsem explains how the strip technique can tell a different story of time and space in photographic images, a story that leads to new expressions and experiences of time and movement. The strip technique itself seems to be neglected in the debate on time and photography, although it has a long history―from Muybridge to the photo booth. Its use is widespread and, especially in recent years, more and more artists have rediscovered the technique.Based on an historical overview, a knowledge and understanding of the technique, and experiments with the building of cameras, this book will propose a new use of this forgotten art: a use in which the temporal terms "speed," "rhythm," and "pace" are of more value than terms so often associated with photography such as "freeze," "split second," or "capture." Within the book one can find more than thirty artists using the strip technique for their artistic practice. Vanvolsem shows how the technique may be used to rediscover the time-based possibilities of the photographic image.

Heterogeneous Objects explores the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media.Contributors: Diarmuid Costello, University of Warwick; Steven Jacobs, University of Ghent; Joanna Lowry, University of Brighton; Marcel Marburger, Universitat der Kunste, Berlin; Raphael Pirenne, Universite catholique de Louvain; Yvonne Spielmann, University of the West of Scotland; Alexander Streitberger, Université catholique de Louvain; Hilde Van Gelder, KU Leuven–University of Leuven

Lieven Gavaert Series 4"Critical realism is a way of seeking to understand the social reality by critically 'making notes' of it.... As scratches of reality, Sekula's photographs and films leave their traces in our minds. They encourage, yes, even force reflection, and through that, slow changes can probably become a reality, certainly at the level of the individual."―from the Introduction, "A Note on Critical Realism Today"The American photographer Allan Sekula teaches at the California Institute of the Arts. His oeuvre features a number of unique characteristics that instigate a strong plea for art to become once more critically engaged. Sekula's iconography rediscovers the theme of labor and his photographs, on the verge between art and documentary, reflect on the possibility that visual art might again deliver an "act of criticism." In the art world, for several decades now, realism has been relegated to the museum of premodern styles and devices, and the idea of social commitment in art has become confused; even when contemporary art carries a strong political message, it often does so in a way that masks the message within a tangle of conceptual devices and abstractions.Sekula's photography has triggered intense debate about the ways in which art can take a critical position on social questions without succumbing to a plainspoken or partisan stance. In Critical Realism in Contemporary Art, leading theorists of art use Sekula's work as a starting point for wide-ranging discussions of technology, history, and society as they are reflected in today's photographic practice.

Jan Lievens (1607–1674) was one of the most fascinating and enigmatic Dutch artists of the 17th century. Daring and innovative as a painter, printmaker, and draftsman, he created powerful character studies, genre scenes, landscapes, formal portraits, and religious and allegorical images that were widely praised and valued during his lifetime. This beautiful book, the first overview of the full range of Lievens’ career, features more than 50 paintings―many of them newly discovered in private collections―and more than 75 prints and drawings, providing a reassessment of his place in the history of art.  Lievens began his career in his native Leiden, where he worked closely with his compatriot Rembrandt, who admired and collected Lievens’ works. Lievens then moved to London, Antwerp, and Amsterdam, and his peripatetic career and multitude of working styles, say the authors of this book, may explain why his reputation today is not as high as it should be. This book offers a necessary corrective, returning to Lievens the esteem he deserves.

Jan Lievens (1607–1674) was one of the most fascinating and enigmatic Dutch artists of the 17th century. Daring and innovative as a painter, printmaker, and draftsman, he created powerful character studies, genre scenes, landscapes, formal portraits, and religious and allegorical images that were widely praised and valued during his lifetime. This beautiful book, the first overview of the full range of Lievens’ career, features more than 50 paintings―many of them newly discovered in private collections―and more than 75 prints and drawings, providing a reassessment of his place in the history of art.  Lievens began his career in his native Leiden, where he worked closely with his compatriot Rembrandt, who admired and collected Lievens’ works. Lievens then moved to London, Antwerp, and Amsterdam, and his peripatetic career and multitude of working styles, say the authors of this book, may explain why his reputation today is not as high as it should be. This book offers a necessary corrective, returning to Lievens the esteem he deserves.

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

Excerpt from Correspondence of Princess Lieven and Earl Grey, Vol. 2: 1830 to 1834Of Reform laid before the King - Brighton in 183r - The Duc de Nemours is offered the Belgian Crown; Refusal by France The Attempt at Ghent - The Prince of Naples a Candidate for Belgium - The Tories and the Government - Lord Londonderry and the Question of Reform - Sir Henry Hardinge - The Court at Brighton - The Debates on the Civil List - The Prince of Naples - Count Munster - The Duke of Buckingham and the Opposition - General Paskiewitch - The Tories and the Question of Reform - Affairs in France Weakness of King Louis Philippe 114 - 172.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Correspondence of Princess Lieven and Earl Grey, Vol. 3I follow you through your melancholy voyage. I now see you established at Petersburg, I hope in health, and With all the comforts which a kind attention, which you so well deserve, can afford I wish I knew something of the locale, that I might figure you to myself more perfectly.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Correspondence of Princess Lieven and Earl Grey, Vol. 1To tlie various autlzors and editors of tbc above works I beg to tender my acknowledgments.Many liave aided me wit/i counsel and information on obscure points, and I owe a large debt of gratitude to my friends. To tlie Duke of Sutlierland above all do I feel grateful, not only for placing t/zese letters in my bands, but also for liaving ever wit/i cordial goodwill promptly aided me, w/ien and bow I needed lielp, to overcome tlie dificulties t/iat beset tlie undertaking. To Earl Grey my tlzanks are due for permission to proceed in Me publication of liis fat/zer's letters.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"Disassembled" Images takes as a point of departure Allan Sekula's productive approach of disassembling elements in order to reassemble them in alternative constellations. Some of the most pressing issues of our time, such as human labor in a globalized economy or the claim for radical democracy, are recurrent themes in Sekula's oeuvre and are investigated by a wide range of experts in this book. Addressing a variety of artworks, both by Sekula and other artists, the collected essays focus on three crucial aspects within recent politically engaged art: collecting as a tool for representing folly and madness, the confrontation of the maritime space of ecological disasters and geopolitical processes with alternative models of solidarity, and what Sekula named "critical realism" as a reflective method in search of new social agencies and creative freedom. A text–image portfolio by Marco Poloni completes this profound reflection on Sekula's influential legacy within contemporary visual art.This publication is GPRC-labeled (Guaranteed Peer Review Content).Contributors: Anthony Abiragi (University of Colorado), Barbara Baert (KU Leuven), Edwin Carels (School of Arts KASK/HoGent/M HKA), Ronnie Close (American University in Cairo), Bart De Baere (M HKA), Stefanie Diekmann (Hildesheim University), Carles Guerra (Fundació Antoni Tàpies), Clara Masnatta (ICI Berlin), W. J. T. Mitchell (University of Chicago), Marco Poloni (Berlin), Anja Isabel Schneider (KU Leuven/ M HKA), Stephanie Schwartz (University College London), Jonathan Stafford (Nottingham Trent University), Alexander Streitberger (UC Louvain), Hilde Van Gelder (KU Leuven), Benjamin Young (Parsons School of Design)

The notion of the minor, developed by Gilles Deleuze and Fâelix Guattari in 'Kafka, towards a minor literature' (1975), is introduced and connected applied here for the very first time to the field of photography theory. Deleuze and Guattari defined minor literature in terms of "deterritorialization", "politicization" and "collectivization". By transferring 'the minor' to the medium of photography, this book enlarges the idea of 'the minor' and opens it up to all kinds of mutations in the process. The essays gathered in this book discuss the ways in which photography can make the dominant codes of representation stammer and how it can produce new effects and address people yet to come. The authors consider 'the minor' as a valuable tool to help photography research move beyond, or in between, binary and hierarchized ways of thinking (of high and low art, for example, or centre and periphery). As such, it aims to contribute to a rethinking of photography as multiplicity and variation.

The notion of the minor, developed by Gilles Deleuze and Fâelix Guattari in 'Kafka, towards a minor literature' (1975), is introduced and connected applied here for the very first time to the field of photography theory. Deleuze and Guattari defined minor literature in terms of "deterritorialization", "politicization" and "collectivization". By transferring 'the minor' to the medium of photography, this book enlarges the idea of 'the minor' and opens it up to all kinds of mutations in the process. The essays gathered in this book discuss the ways in which photography can make the dominant codes of representation stammer and how it can produce new effects and address people yet to come. The authors consider 'the minor' as a valuable tool to help photography research move beyond, or in between, binary and hierarchized ways of thinking (of high and low art, for example, or centre and periphery). As such, it aims to contribute to a rethinking of photography as multiplicity and variation.

Lieven Gavaert Series 4"Critical realism is a way of seeking to understand the social reality by critically 'making notes' of it.... As scratches of reality, Sekula's photographs and films leave their traces in our minds. They encourage, yes, even force reflection, and through that, slow changes can probably become a reality, certainly at the level of the individual."―from the Introduction, "A Note on Critical Realism Today"The American photographer Allan Sekula teaches at the California Institute of the Arts. His oeuvre features a number of unique characteristics that instigate a strong plea for art to become once more critically engaged. Sekula's iconography rediscovers the theme of labor and his photographs, on the verge between art and documentary, reflect on the possibility that visual art might again deliver an "act of criticism." In the art world, for several decades now, realism has been relegated to the museum of premodern styles and devices, and the idea of social commitment in art has become confused; even when contemporary art carries a strong political message, it often does so in a way that masks the message within a tangle of conceptual devices and abstractions.Sekula's photography has triggered intense debate about the ways in which art can take a critical position on social questions without succumbing to a plainspoken or partisan stance. In Critical Realism in Contemporary Art, leading theorists of art use Sekula's work as a starting point for wide-ranging discussions of technology, history, and society as they are reflected in today's photographic practice.

Photographic images can, apart from their capacity to show, convey an experience, a quality that has seldom been recognized. In this book, the artist and photographer Maarten Vanvolsem explains how the strip technique can tell a different story of time and space in photographic images, a story that leads to new expressions and experiences of time and movement. The strip technique itself seems to be neglected in the debate on time and photography, although it has a long history―from Muybridge to the photo booth. Its use is widespread and, especially in recent years, more and more artists have rediscovered the technique.Based on an historical overview, a knowledge and understanding of the technique, and experiments with the building of cameras, this book will propose a new use of this forgotten art: a use in which the temporal terms "speed," "rhythm," and "pace" are of more value than terms so often associated with photography such as "freeze," "split second," or "capture." Within the book one can find more than thirty artists using the strip technique for their artistic practice. Vanvolsem shows how the technique may be used to rediscover the time-based possibilities of the photographic image.

Music From The Guardhouse Lieven Martens Moana - LP 769791966192

2015 repress of 2011 reissue of the original 1986 cassette. Pressing of 400 copies on 180-gram vinyl in full-color thick cardboard sleeve. Created between 1981 and 1985 by JD Emmanuel, a new age composer who has received a lot of praise from people like Lieven Martens and John Olsen. These recordings signify Emmanuel's praise to the course of the day. Starting off slowly with morning synth meanderings, walking through midday, running in the evening, and closing the day with midnight meditation.