| 000 | 01718 a2200361 4500 | ||
|---|---|---|---|
| 003 | OSt | ||
| 005 | 20180116192359.0 | ||
| 008 | 120702t xxu||||| |||| 00| 0 eng d | ||
| 010 | _a 2010283090 | ||
| 020 | _a9780714848020 | ||
| 020 | _a0714848026 | ||
| 024 | 8 | _a40016133612 | |
| 035 | _a(OCoLC)ocn179794112 | ||
| 040 | _c0 | ||
| 082 | 0 | 0 | _a709.2 |
| 100 | 1 |
_aStiles, Kristine. _94990 |
|
| 245 | 1 | 0 |
_aMarina AbramovicÌ / _cKristine Stiles, Klaus Biesenbach, Chrissie Iles. |
| 260 |
_aLondon ; _aNew York, NY : _bPhaidon, _c2008. |
||
| 300 |
_a158 p. : _bill. (some col.) ; _c29 cm. |
||
| 440 | 0 |
_aContemporary artists _94991 |
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| 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. | ||
| 600 | 1 | 0 |
_aAbramovic, Marina _xCriticism and interpretation. _94992 |
| 600 | 1 | 0 |
_aAbramovic, Marina _94993 |
| 600 | 1 | 0 |
_aAbramovic, Marina, _d1946- _94994 |
| 600 | 1 | 0 |
_aAbramovicÌ, Marina _94995 |
| 650 | 0 |
_aInstallations (Art) _94996 |
|
| 650 | 0 |
_aPerformance art. _94997 |
|
| 700 | 1 |
_aAbramovic, Marina. _94998 |
|
| 700 | 1 |
_aBiesenbach, Klaus. _94999 |
|
| 700 | 1 |
_aIles, Chrissie. _95000 |
|
| 942 |
_aSADA _cBK _k709.2 STI 2008 _2ddc |
||
| 999 |
_c353234 _d353234 |
||