| 008 |
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101115s2008 ch a g b 000 0 eng d |
| 015 |
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|a2010283090
|
| 020 |
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|a0714848026 (pbk)
|
| 020 |
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|a9780714848020 (pbk)
|
| 035 |
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|a(OCoLC)ocn179794112
|
| 035 |
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|a2010283090
|
| 040 |
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|aTMUE|beng|cTMUE|dTMUE|eAACR2
|
| 050 |
14
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|aN7253.A25|bS75 2008
|
| 082 |
04
|
|a709.2|222
|
| 100 |
1
|
|aStilesKristine
|
| 245 |
10
|
|aMarina Abramovic / |cKristine Stiles, Klaus Biesenbach, Chrissie Iles
|
| 260 |
|
|aLondon ; |aNew York, NY : |bPhaidon, |c2008
|
| 300 |
|
|a158 p : |bill. (some col.) ; |c29 cm
|
| 490 |
1
|
|aContemporary artists
|
| 504 |
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|aIncludes bibliographical references (p. 154-157)
|
| 520 |
|
|aSince the early 1970's, Marina Abramovic has pioneered the use of performance as a visual art form, exploring her physical and emotional limits in some of the most iconic works in contemporary art. Her body is her primary subject and medium, from the early sound-based performances in her native Yugoslavia, to her collaborative works with German artists Ulay (Frank Uwe Laysiepen), her videos exploring her Balkan heritage, and most recently her re-enactments of hisorical performaces by fellow artists such as Vito Acconci, Bruce Nauman and Valie Export
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| 600 |
10
|
|aAbramovic Marina
|
| 600 |
10
|
|aAbramovic Marina|xCriticism and interpretation
|
| 650 |
0
|
|aInstallations (Art)
|
| 650 |
0
|
|aPerformance art
|
| 700 |
1
|
|aAbramovic Marina
|
| 700 |
1
|
|aBiesenbach Klaus
|
| 700 |
1
|
|aIles Chrissie
|
| 830 |
0
|
|aContemporary artists
|
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