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ChartaBOOK FORMAT
Paperback, 8.5 x 12 in. / 152 pgs / 322 color. PUBLISHING STATUS
Pub Date 8/15/2005
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Catalog: FALL 2005 p. 134 PRODUCT DETAILS
ISBN 9788881585304 TRADE
List Price: $39.95 CDN $50.00 AVAILABILITY
Not available | | BROWSE THE 2019 FALL CATALOG  Preview our Fall 2019 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | CHARTAAlfredo Jaar: The Fire This TimePublic Interventions 1979-2005Essays by Nancy Princenthal and Mary Jane Jacob.
An architect interested in ephemeral structures, a photographer who has grown increasingly suspicious of pictures, Jaar's most telling gesture is to relinquish the camera by placing it, figuratively and sometimes literally, in the public's hands. In other words, Jaar is a master of indirection. And no wonder. His work was shaped at the outset by the need to speak clearly and forcefully against murderous injustice, using language of the most lucid obliquity. Jaar's work declares that daring to connect and participate is our last, best hope.
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| | | | |  | Edited by Patrik Nyberg, Jari-Pekka Vanhala. Foreword and interview by Pirkko Siitari. Text by Nestor Garcia Canclini, et al. Poem by Adrienne Rich.MUSEUM OF CONTEMPORARY ART, KIASMAISBN: 9789527067055
USD $60.00 | CAN $79Pub Date: 2/24/2015
Active | In stock
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|  | Edited by Nicole Schweizer. Text by Griselda Pollock, Jacques Rancière, Nicole Schweizer, Georges Didi-Huberman.JRP|RINGIERISBN: 9783905770483
USD $49.00 | CAN $65Pub Date: 3/1/2008
Active | In stock
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FORMAT: Paperback, 8.5 x 12 in. / 152 pgs / 322 color.
LIST PRICE: U.S. $39.95
LIST PRICE: CANADA $50
ISBN: 9788881585304
PUBLISHER: Charta
AVAILABLE: 8/15/2005
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: No longer our product
AVAILABILITY: Not available
| D.A.P. CATALOG: FALL 2005 Page 134 | INFO AS OF: May 14, 2019 | PRESS INQUIRIES
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| Alfredo Jaar: The Fire This Time
Public Interventions 1979-2005 Published by Charta.
Essays by Nancy Princenthal and Mary Jane Jacob. | An architect interested in ephemeral structures, a photographer who has grown increasingly suspicious of pictures, Jaar's most telling gesture is to relinquish the camera by placing it, figuratively and sometimes literally, in the public's hands. In other words, Jaar is a master of indirection. And no wonder. His work was shaped at the outset by the need to speak clearly and forcefully against murderous injustice, using language of the most lucid obliquity. Jaar's work declares that daring to connect and participate is our last, best hope.
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