2016, ISBN: 9781560983477

Edição encadernada

Durham, NC and London: Duke University Press, 1998. Copyright © 1998 . Soft Cover . Like New. 8vo or 8° (Medium Octavo): between 6" - 9" tall . 453 pp. Clean, fresh … mais…

Durham, NC and London: Duke University Press, 1998. Copyright © 1998 . Soft Cover . Like New. 8vo or 8° (Medium Octavo): between 6" - 9" tall . 453 pp. Clean, fresh copy with very light shelf wear, crisp pages and clean text. Synopsis: Although long considered the most distinctive American contribution to philosophy, pragmatism-with its problem-solving emphasis and its contingent view of truth-lost popularity in mid-century after the advent of World War II, the horror of the Holocaust, and the dawning of the Cold War. Since the 1960s, however, pragmatism in many guises has again gained prominence, finding congenial places to flourish within growing intellectual movements. This volume of new essays brings together leading philosophers, historians, legal scholars, social thinkers, and literary critics to examine the far-reaching effects of this revival. As the twenty-five intellectuals who take part in this discussion show, pragmatism has become a complex terrain on which a rich variety of contemporary debates have been played out. Contributors such as Richard Rorty, Stanley Cavell, Nancy Fraser, Robert Westbrook, Hilary Putnam, and Morris Dickstein trace pragmatism's cultural and intellectual evolution, consider its connection to democracy, and discuss its complex relationship to the work of Emerson, Nietzsche, and Wittgenstein. They show the influence of pragmatism on black intellectuals such as W. E. B. Du Bois, explore its view of poetic language, and debate its effects on social science, history, and jurisprudence. Also including essays by critics of the revival such as Alan Wolfe and John Patrick Diggins, the volume concludes with a response to the whole collection from Stanley Fish. Including an extensive bibliography, this interdisciplinary work provides an in-depth and broadly gauged introduction to pragmatism, one that will be crucial for understanding the shape of the transformations taking place in the American social and philosophical scene at the end of the twentieth century. Contributors: Richard Bernstein, David Bromwich, Ray Carney, Stanley Cavell, Morris Dickstein, John Patrick Diggins, Stanley Fish, Nancy Fraser, Thomas C. Grey, Giles Gunn, Hans Joas, James T. Kloppenberg, David Luban, Louis Menand, Sidney Morgenbesser, Richard Poirier, Richard A. Posner, Ross Posnock, Hilary Putnam, Ruth Anna Putnam, Richard Rorty, Michel Rosenfeld, Richard H. Weisberg, Robert B. Westbrook, Alan WolfeContents Introduction: Pragmatism Then and Now, Morris Dickstein WHAT DIFFERENCE DOES PRAGMATISM MAKE? THE VIEW FROM PHILOSOPHY Pragmatism as Romantic Polytheism, Richard Rorty Pragmatism and Realism, Hilary Putnam Response to Hilary Putnam's "Pragmatism and Realism", Sidney Morgenbesser The Moral Impulse, Ruth Anna Putnam What's the Use of Calling Emerson a Pragmatist?, Stanley Cavell PRAGMATISM AND THE REMAKING OF SOCIAL THOUGHT Pragmatism: An Old Name for Some New Ways of Thinking?, James T. Kloppenberg Pragmatism and Democracy: Reconstructing the Logic of John Dewey's Faith, Robert B. Westbrook Community in the Pragmatic Tradition, Richard J. Bernstein Another Pragmatism: Alain Locke, Critical "Race" Theory and the Politics of Culture, Nancy Fraser Going Astray, Going Forward: Du Boisian Pragmatism and Its Lineage, Ross Posnock The Inspiration of Pragmatism: Some Personal Remarks, Hans Joas The Missing Pragmatic Revival in American Social Science, Alan Wolfe Pragmatism and Its Limits, John Patrick Diggins PRAGMATISM AND LAW Pragmatic Adjudication, Richard A. Posner Freestanding Legal Pragmatism, Thomas C. Grey What's Pragmatic about Legal Pragmatism?, David Luban Pragmatism and Law: A Response to David Luban, Richard Rorty It's a Positivist, It's a Pragmatist, It's a Codifier! Reflection on Nietzsche and Stendhal, Richard H. Weisberg Pragmatism, Pluralism and Legal Interpretation: Posner's and Rorty's Justice Without Metaphysics Meets Hate Speech, Michael Rosenfeld PRAGMATISM, CULTURE AND ART Why do Pragmatists Want to Be Like Poets?, Richard Poirie., Duke University Press, 1998, 5, UK,8vo HB+dw/dj,1st edn. FINE+/FINE+. No owner inscrptn and no price-clip to dw/dj.Bright,crisp,clean,matt colour pictorial illustrated front panel of dw/dj,with brown-lettered part-title,black-lettered sub-title and capitalised, black-lettered and brown+black lettered review to lower edge,by HILARY MANTEL; spine/backstrip with similarly coloured+lettered part-title only and similalrly coloured +lettered author name as the front's,and publisher's brown thumbnail illustrated colophon to foot of same,rear panel with six thumbnail contemporary,colour portraits of Jane, Edward,John and Thomas Seymour,Henry VIII and Edward VI. Negligible shelf-wear,bumping,creasing to edges and corners - no nicks,tears or splits present.Top+fore-edges though lightly toned,are bright,crisp and clean without foxing/spotting; contents bright,tight,clean,solid and sound - virtually pristine - no dog-ear reading creases to any pages' corner tips,appears unread other than my own collation.Publishisher's bright,crisp,clean and unblemished, sharp-cornered,original plain black cloth boards with bright,crisp,blocked gilt lettered spine/backstrip and immaculate plain white endpapers.UK,8vo HB+dw/dj,1st edn,7-282pp [paginated] includes author's Preface,an Introduction,10 chapters and an Epilogue,8pp historical contemporary b/w+colour illustration reproductions in 1 block between pp145/46,Notes,a Bibliography,List of illustrations; plus [unpaginated] half-title+title pages, contents list/table,and to the rear,3pp publisher's b/w illustrated advert for other titles. Visually the exterior appearance is exceptional,and particularly internally,the book is also in an exceptional condition/state of preservation and presentation. It really is an exceptional, exemplary example for its cleanliness, brightness and lack of detracting faults. Author's last work/title before his death in the following year. David Michael Loades FSA (19th January,1934 21st April, 2016) was a British historian specialising in the Tudor era.He was Emeritus Professor of History at the University of Wales, where he taught from 1980 until 1996,and was Honorary Research Professor at the University of Sheffield from 1996 until 2008.In the 1960s and 1970s he taught at the universities of St. Andrews and Durham.From 1993 until 2004 he acted as Literary Director of the John Foxe Project at the British Academy; he subsequently became an Honorary Member of the History Faculty at the University of Oxford.Loades studied at the University of Cambridge.He wrote many books on the Tudor period,including biographies.He was President of the Ecclesiastical History Society (199293). Although the Seymours arrived with the Normans, it is with Jane, Henry VIII's third queen, and her brothers Edward, Duke of Somerset, and Thomas, Lord Seymour of Sudeley that they became prominent.Jane bore Henry his longed-for son, Edward VI, and both her brothers achieved prominence through her. Her brother Edward was central to Henry's activities in Scotland and became Lord Protector for the young king, his nephew, a hugely powerful position. Thomas married Henry's sixth wife, Catherine Parr, and after her death in 1548 aimed to marry Princess Elizabeth (the future Elizabeth I), with whom he had flirted when she was in Catherine's care, and for this he was executed for high treason. Edward fell foul of his fellow councillors and was also executed. Edward's son was restored to the title of Lord Hertford by Elizabeth I, but was sent to the Tower when it emerged that he had secretly married Jane Grey's sister, Catherine, who was Elizabeth's protestant heir. Both her marriage and pregnancy were an affront to the queen. This is the epic rise and fall of the family at the heart of the Tudor court and of Henry VIII's own heart; he described Jane as 'my first true wife' and left express orders to be buried next to her tomb at Windsor Castle. The family seat of Wolfhall or 'Wolf Hall' in Wiltshire is long gone, but it lives on as an icon of the Tudor age. Please contact seller,for correct shipping/P+p quotes - particularly ALL overseas buyers - BEFORE ordering through the order page! N.B. ALL buyers please note,that stocks' actual shipping/P+p costs are adjusted and any difference is refunded,after order's receipt and before the order's despatch,especially if the item(s) are offered either P+p included/FREE. ** This item offered P+p included.Offer available UK only,unless indicated otherwise. ** ** N.B. US/Canada customers please be aware: Standard AIRMAIL postage from UK to these destinations can now cost more than the price of any inexpensive book! If speed is not of the essence,then Economy rate is recommended - at approx. anything from a 1/3rd to 1/2 of the standard US AIR quote/rate - sometimes arriving sooner than the 42 days - but not always. **, UK.STROUD,GLOUCESTERSHIRE.AMBERLEY PUBLISHING,2015., 5, Washington D.C.: Smithsonian Institution Press, 1996. Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little wear to the crown of the spine (header cap). Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by special arrangement. "Installation is arguably the most original, vigorous, and fertile form of art today. No large-scale survey or festival of contemporary art would be complete without examples of installation, and it is these that usually attract the greatest attention and cause the most controversy. Yet this is the first book ever to describe the tradition and explore the achievements and ambitions of the installation artist. Michael Archer's illuminating introduction traces the history of installation art from Duchamp's first readymade through the Pop tableaux of Kienholz, Oldenburg, Kaprow, and Dine to more recent developments such as Land Art and Process Art. This is followed by a global range of installations, presented and documented by Nicolas de Oliveira, Nicola Oxley, and Michael Petry. All these works share a theatrical power and an insistence that the viewer be involved, from Christian Marclay's floor carpeted with LPs and Jenny Holzer's pulsating LED screens with their enigmatic messages, to Lothar Baumgarten's haunting memorial to Native American tribes and Hiroshi Teshigahara's tranquil tunnels of bamboo. The pieces are grouped into four sections, with more than 260 illustrations: site works from artists such as Christo, Richard Wilson, James Turrell, and Hans Haacke; media works by Wolf Vostell, Meg Cranston, Joseph Kosuth, Nam June Paik, and others; the museum works of Barbara Bloom, Mike Kelley, Cary Leibowitz, Ange Leccia, and their peers; and architectural works by practitioners including Rachel Whiteread, Daniel Buren, Mario Merz, and Vong Phaophanit. Authoritative reference material includes a chronology which details the history of installation from its roots in the late nineteenth century to today and an extensive bibliography. Installation is a rich art form, often heroic in scale, sometimes witty and subversive, usually impermanent. This pioneering volume captures fully the variety and scale of these many-layered works - the essential contemporary record of a vibrant, fast-changing discipline." - Publisher.. Hardcover. Very Good/Very Good. 4to., Smithsonian Institution Press, 1996, 3<

2023, ISBN: 9781560983477

Edição encadernada

New York, NY: Borzoi/Alfred A Knoff, 1994. First Edition . Hardcover. New/Near Fine. Text/BRAND NEW & Bright w/trace soiling to lower leading text edges to pgs 19-58. 1994 First Edi… mais…

New York, NY: Borzoi/Alfred A Knoff, 1994. First Edition . Hardcover. New/Near Fine. Text/BRAND NEW & Bright w/trace soiling to lower leading text edges to pgs 19-58. 1994 First Edition, First Thus. Gilt embossed black linen boards/Fine. DJ/NF w/discoloration to inner side. Upper text edge dyed red, also with trace discoloration. Historical novel of New Mexico and Mexico. Volume Two of Cormac McCarthy's (1933-2023) THE BORDER TRILOGY (sequel to All the Pretty Horses of 1992, and before Cities of the Plain of 1998). Set in the 1930's when Billy & Boyd are but boys, and World War II is yet to be. 16 year-old Billy Parham captures a pregnant she-wolf --- of the variety attacking New Mexico cattle --- Billy journeys across the border to re-settle her back to Mexican mountains. In the 2nd "crossing", Billy & younger brother Boyd travel south to recover horses stolen from their family's farm --- Boyd is shot, nursed to health, and disappears w/a girl. "Crossing" 3 tells of Billy's attempt to track down his lost brother. 426 pgs in 4 parts., Borzoi/Alfred A Knoff, 1994, 5, Durham, NC and London: Duke University Press, 1998. Copyright © 1998 . Soft Cover . Like New. 8vo or 8° (Medium Octavo): between 6" - 9" tall . 453 pp. Clean, fresh copy with very light shelf wear, crisp pages and clean text. Synopsis: Although long considered the most distinctive American contribution to philosophy, pragmatism-with its problem-solving emphasis and its contingent view of truth-lost popularity in mid-century after the advent of World War II, the horror of the Holocaust, and the dawning of the Cold War. Since the 1960s, however, pragmatism in many guises has again gained prominence, finding congenial places to flourish within growing intellectual movements. This volume of new essays brings together leading philosophers, historians, legal scholars, social thinkers, and literary critics to examine the far-reaching effects of this revival. As the twenty-five intellectuals who take part in this discussion show, pragmatism has become a complex terrain on which a rich variety of contemporary debates have been played out. Contributors such as Richard Rorty, Stanley Cavell, Nancy Fraser, Robert Westbrook, Hilary Putnam, and Morris Dickstein trace pragmatism's cultural and intellectual evolution, consider its connection to democracy, and discuss its complex relationship to the work of Emerson, Nietzsche, and Wittgenstein. They show the influence of pragmatism on black intellectuals such as W. E. B. Du Bois, explore its view of poetic language, and debate its effects on social science, history, and jurisprudence. Also including essays by critics of the revival such as Alan Wolfe and John Patrick Diggins, the volume concludes with a response to the whole collection from Stanley Fish. Including an extensive bibliography, this interdisciplinary work provides an in-depth and broadly gauged introduction to pragmatism, one that will be crucial for understanding the shape of the transformations taking place in the American social and philosophical scene at the end of the twentieth century. Contributors: Richard Bernstein, David Bromwich, Ray Carney, Stanley Cavell, Morris Dickstein, John Patrick Diggins, Stanley Fish, Nancy Fraser, Thomas C. Grey, Giles Gunn, Hans Joas, James T. Kloppenberg, David Luban, Louis Menand, Sidney Morgenbesser, Richard Poirier, Richard A. Posner, Ross Posnock, Hilary Putnam, Ruth Anna Putnam, Richard Rorty, Michel Rosenfeld, Richard H. Weisberg, Robert B. Westbrook, Alan WolfeContents Introduction: Pragmatism Then and Now, Morris Dickstein WHAT DIFFERENCE DOES PRAGMATISM MAKE? THE VIEW FROM PHILOSOPHY Pragmatism as Romantic Polytheism, Richard Rorty Pragmatism and Realism, Hilary Putnam Response to Hilary Putnam's "Pragmatism and Realism", Sidney Morgenbesser The Moral Impulse, Ruth Anna Putnam What's the Use of Calling Emerson a Pragmatist?, Stanley Cavell PRAGMATISM AND THE REMAKING OF SOCIAL THOUGHT Pragmatism: An Old Name for Some New Ways of Thinking?, James T. Kloppenberg Pragmatism and Democracy: Reconstructing the Logic of John Dewey's Faith, Robert B. Westbrook Community in the Pragmatic Tradition, Richard J. Bernstein Another Pragmatism: Alain Locke, Critical "Race" Theory and the Politics of Culture, Nancy Fraser Going Astray, Going Forward: Du Boisian Pragmatism and Its Lineage, Ross Posnock The Inspiration of Pragmatism: Some Personal Remarks, Hans Joas The Missing Pragmatic Revival in American Social Science, Alan Wolfe Pragmatism and Its Limits, John Patrick Diggins PRAGMATISM AND LAW Pragmatic Adjudication, Richard A. Posner Freestanding Legal Pragmatism, Thomas C. Grey What's Pragmatic about Legal Pragmatism?, David Luban Pragmatism and Law: A Response to David Luban, Richard Rorty It's a Positivist, It's a Pragmatist, It's a Codifier! Reflection on Nietzsche and Stendhal, Richard H. Weisberg Pragmatism, Pluralism and Legal Interpretation: Posner's and Rorty's Justice Without Metaphysics Meets Hate Speech, Michael Rosenfeld PRAGMATISM, CULTURE AND ART Why do Pragmatists Want to Be Like Poets?, Richard Poirie., Duke University Press, 1998, 5, Washington D.C.: Smithsonian Institution Press, 1996. Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little wear to the crown of the spine (header cap). Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by special arrangement. "Installation is arguably the most original, vigorous, and fertile form of art today. No large-scale survey or festival of contemporary art would be complete without examples of installation, and it is these that usually attract the greatest attention and cause the most controversy. Yet this is the first book ever to describe the tradition and explore the achievements and ambitions of the installation artist. Michael Archer's illuminating introduction traces the history of installation art from Duchamp's first readymade through the Pop tableaux of Kienholz, Oldenburg, Kaprow, and Dine to more recent developments such as Land Art and Process Art. This is followed by a global range of installations, presented and documented by Nicolas de Oliveira, Nicola Oxley, and Michael Petry. All these works share a theatrical power and an insistence that the viewer be involved, from Christian Marclay's floor carpeted with LPs and Jenny Holzer's pulsating LED screens with their enigmatic messages, to Lothar Baumgarten's haunting memorial to Native American tribes and Hiroshi Teshigahara's tranquil tunnels of bamboo. The pieces are grouped into four sections, with more than 260 illustrations: site works from artists such as Christo, Richard Wilson, James Turrell, and Hans Haacke; media works by Wolf Vostell, Meg Cranston, Joseph Kosuth, Nam June Paik, and others; the museum works of Barbara Bloom, Mike Kelley, Cary Leibowitz, Ange Leccia, and their peers; and architectural works by practitioners including Rachel Whiteread, Daniel Buren, Mario Merz, and Vong Phaophanit. Authoritative reference material includes a chronology which details the history of installation from its roots in the late nineteenth century to today and an extensive bibliography. Installation is a rich art form, often heroic in scale, sometimes witty and subversive, usually impermanent. This pioneering volume captures fully the variety and scale of these many-layered works - the essential contemporary record of a vibrant, fast-changing discipline." - Publisher.. Hardcover. Very Good/Very Good. 4to., Smithsonian Institution Press, 1996, 3<

1996, ISBN: 9781560983477

Washington D.C.: Smithsonian Institution Press, 1996. Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little w… mais…

Washington D.C.: Smithsonian Institution Press, 1996. Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little wear to the crown of the spine (header cap). Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by special arrangement. "Installation is arguably the most original, vigorous, and fertile form of art today. No large-scale survey or festival of contemporary art would be complete without examples of installation, and it is these that usually attract the greatest attention and cause the most controversy. Yet this is the first book ever to describe the tradition and explore the achievements and ambitions of the installation artist. Michael Archer's illuminating introduction traces the history of installation art from Duchamp's first readymade through the Pop tableaux of Kienholz, Oldenburg, Kaprow, and Dine to more recent developments such as Land Art and Process Art. This is followed by a global range of installations, presented and documented by Nicolas de Oliveira, Nicola Oxley, and Michael Petry. All these works share a theatrical power and an insistence that the viewer be involved, from Christian Marclay's floor carpeted with LPs and Jenny Holzer's pulsating LED screens with their enigmatic messages, to Lothar Baumgarten's haunting memorial to Native American tribes and Hiroshi Teshigahara's tranquil tunnels of bamboo. The pieces are grouped into four sections, with more than 260 illustrations: site works from artists such as Christo, Richard Wilson, James Turrell, and Hans Haacke; media works by Wolf Vostell, Meg Cranston, Joseph Kosuth, Nam June Paik, and others; the museum works of Barbara Bloom, Mike Kelley, Cary Leibowitz, Ange Leccia, and their peers; and architectural works by practitioners including Rachel Whiteread, Daniel Buren, Mario Merz, and Vong Phaophanit. Authoritative reference material includes a chronology which details the history of installation from its roots in the late nineteenth century to today and an extensive bibliography. Installation is a rich art form, often heroic in scale, sometimes witty and subversive, usually impermanent. This pioneering volume captures fully the variety and scale of these many-layered works - the essential contemporary record of a vibrant, fast-changing discipline." - Publisher.. Hardcover. Very Good/Very Good. 4to - over 9¾" - 12" tall., Smithsonian Institution Press, 1996, 3<

1996, ISBN: 9781560983477

Washington D.C.: Smithsonian Institution Press, 1996. Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little w… mais…

Washington D.C.: Smithsonian Institution Press, 1996. Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little wear to the crown of the spine (header cap). Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by special arrangement. "Installation is arguably the most original, vigorous, and fertile form of art today. No large-scale survey or festival of contemporary art would be complete without examples of installation, and it is these that usually attract the greatest attention and cause the most controversy. Yet this is the first book ever to describe the tradition and explore the achievements and ambitions of the installation artist. Michael Archer's illuminating introduction traces the history of installation art from Duchamp's first readymade through the Pop tableaux of Kienholz, Oldenburg, Kaprow, and Dine to more recent developments such as Land Art and Process Art. This is followed by a global range of installations, presented and documented by Nicolas de Oliveira, Nicola Oxley, and Michael Petry. All these works share a theatrical power and an insistence that the viewer be involved, from Christian Marclay's floor carpeted with LPs and Jenny Holzer's pulsating LED screens with their enigmatic messages, to Lothar Baumgarten's haunting memorial to Native American tribes and Hiroshi Teshigahara's tranquil tunnels of bamboo. The pieces are grouped into four sections, with more than 260 illustrations: site works from artists such as Christo, Richard Wilson, James Turrell, and Hans Haacke; media works by Wolf Vostell, Meg Cranston, Joseph Kosuth, Nam June Paik, and others; the museum works of Barbara Bloom, Mike Kelley, Cary Leibowitz, Ange Leccia, and their peers; and architectural works by practitioners including Rachel Whiteread, Daniel Buren, Mario Merz, and Vong Phaophanit. Authoritative reference material includes a chronology which details the history of installation from its roots in the late nineteenth century to today and an extensive bibliography. Installation is a rich art form, often heroic in scale, sometimes witty and subversive, usually impermanent. This pioneering volume captures fully the variety and scale of these many-layered works - the essential contemporary record of a vibrant, fast-changing discipline." - Publisher.. Hardcover. Very Good/Very Good. 4to., Smithsonian Institution Press, 1996, 3<

1996, ISBN: 1560983477

[EAN: 9781560983477], Gebraucht, sehr guter Zustand, [PU: Smithsonian Institution Press, Washington D.C.], Jacket, Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clea… mais…

[EAN: 9781560983477], Gebraucht, sehr guter Zustand, [PU: Smithsonian Institution Press, Washington D.C.], Jacket, Cloth, 208 pages, illustrations (some colour); 28 cm. Firm binding, clean inside copy. Lower right corners lightly bumped, a little wear to the crown of the spine (header cap). Dust jacket, with light edgewear, protected in a mylar cover. OVERSIZE! No priority/international, except by special arrangement. "Installation is arguably the most original, vigorous, and fertile form of art today. No large-scale survey or festival of contemporary art would be complete without examples of installation, and it is these that usually attract the greatest attention and cause the most controversy. Yet this is the first book ever to describe the tradition and explore the achievements and ambitions of the installation artist. Michael Archer's illuminating introduction traces the history of installation art from Duchamp's first readymade through the Pop tableaux of Kienholz, Oldenburg, Kaprow, and Dine to more recent developments such as Land Art and Process Art. This is followed by a global range of installations, presented and documented by Nicolas de Oliveira, Nicola Oxley, and Michael Petry. All these works share a theatrical power and an insistence that the viewer be involved, from Christian Marclay's floor carpeted with LPs and Jenny Holzer's pulsating LED screens with their enigmatic messages, to Lothar Baumgarten's haunting memorial to Native American tribes and Hiroshi Teshigahara's tranquil tunnels of bamboo. The pieces are grouped into four sections, with more than 260 illustrations: site works from artists such as Christo, Richard Wilson, James Turrell, and Hans Haacke; media works by Wolf Vostell, Meg Cranston, Joseph Kosuth, Nam June Paik, and others; the museum works of Barbara Bloom, Mike Kelley, Cary Leibowitz, Ange Leccia, and their peers; and architectural works by practitioners including Rachel Whiteread, Daniel Buren, Mario Merz, and Vong Phaophanit. Authoritative reference material includes a chronology which details the history of installation from its roots in the late nineteenth century to today and an extensive bibliography. Installation is a rich art form, often heroic in scale, sometimes witty and subversive, usually impermanent. This pioneering volume captures fully the variety and scale of these many-layered works - the essential contemporary record of a vibrant, fast-changing discipline." - Publisher. Size: 4to, Books<