Note: 7.1963/64 - 22.1995/96 inhaltliche Gliederung in Bd. 1: Museen u. Galerien, Bildende Künstler, Restauratoren, Sammler, Vereinigungen; Bd. 2: Kunst- und Antiquitätenhandlungen, Kunstverleger, Experten; ab 23.1997/98 in Bd. 1: Museen und öffentliche Galerien, Universitäten, Akademien, Schulen, Vereinigungen; Bd. 2: Kunst- und Antiquitätenhandel, Numismatik, Galerien, Auktionatoren, Restauratoren, Kunstverleger, Kunstzeitschriften, Antiquariate und Kunstbuchhandlungen; Bd. 3: Register; ab 33.2009 in Bd. 1: Museums and public galleries, universities, associations; Bd. 2: Antiques and numismatics, fairs, galleries, auctioneers, restorers, publishers, periodicals, booksellers; Bd. 3: Index , Hrsg. anfangs: Helmut Rauschenbusch , Ersch. anfangs alle 2 Jahre, später jährl.

Note: Einzelne Hefte auch als „Numéro spécial“ bezeichnet , Urh. anfangs: Centre Permanent de Recherches et d'Etudes Préromanes et Romanes , Index 1/40.1970/2009 in: 41.2010

Note: Zusatz teilw. Service , Herausgebendes Organ 1986-[?]: Nationale Informationsstelle für Kulturgüter-Erhaltung , Erscheint ab 2018 vier mal pro Jahr; früher sechs Mal pro Jahr, anfangs vierteljährl , Beitr. teilw. dt., teilw. franz

Note: Includes bibliographical references (pages 397-416)

Note: Includes bibliographical references and index , Zusatz zum Titel von Umschlag , Includes passages in Sanskrit; (Sanskrit in roman)

Note: Works 1988-2015 ist Titel des Schubers und zugleich Titel eines Bandes , Vorwort im 1. Teil: "The publication (...) is divided in three volumes. The first contains analytical, in-depth essays, organized thematically around several specific aspects of Abdessemed's work. The second is the provisional catalogue raisonné of the works from 1995 to 2015, with the inclusion of only two works made in Algeria prior to the artist's arrival in France. (...) The third volume is an album of darings (...)"

Note: Erscheinungsjahr von Band 1 nicht ermittelbar

Note: 2. Parallelsacht. ab 10.2002

Note: Erschienen: 1 - 2

Note: "The selected papers were published between 1979 and 2015"--Front flap, volume 1

Note: Einzelne Hefte auch als „Numéro spécial“ bezeichnet , Urh. anfangs: Centre Permanent de Recherches et d'Etudes Préromanes et Romanes , Index 1/40.1970/2009 in: 41.2010

Note: Anfangs hrsg. vom Nationaal Centrum voor de Plastische Kunsten van de XVIde en XVIIde Eeuw

Note: Includes bibliographical references

Note: Includes passages in Sanskrit

Note: Text Hindi und englisch

Note: Erschienen: Vol. 1 bis Vol. 2

Note: Includes bibliographical references and index , Erschienen: 1 - 2

Note: Teils im Verl. Soroush Press, Tehran [u.a.], erschienen

Note: Erschienen: 1 - 2

Note: Erschienen: 1 - 2

Note: Erschienen: 1 - 3

Note: Bd. 2 im Verlag Ankur Soubrah Prakashan, Jammu, erschienen

Note: Erschienen: 1 - 2

Note: Includes bibliographical references and index

Note: Erscheint zehnmal jährlich; Vol. 59.2020/21 mit 8 Heften komplett , 42.2003/04,7 fälschlich als Jg. 43 bez.

Note: 7.1963/64 - 22.1995/96 inhaltliche Gliederung in Bd. 1: Museen u. Galerien, Bildende Künstler, Restauratoren, Sammler, Vereinigungen; Bd. 2: Kunst- und Antiquitätenhandlungen, Kunstverleger, Experten; ab 23.1997/98 in Bd. 1: Museen und öffentliche Galerien, Universitäten, Akademien, Schulen, Vereinigungen; Bd. 2: Kunst- und Antiquitätenhandel, Numismatik, Galerien, Auktionatoren, Restauratoren, Kunstverleger, Kunstzeitschriften, Antiquariate und Kunstbuchhandlungen; Bd. 3: Register; ab 33.2009 in Bd. 1: Museums and public galleries, universities, associations; Bd. 2: Antiques and numismatics, fairs, galleries, auctioneers, restorers, publishers, periodicals, booksellers; Bd. 3: Index , Hrsg. anfangs: Helmut Rauschenbusch , Ersch. anfangs alle 2 Jahre, später jährl.

Note: Ersch. unregelmäßig

Note: Ersch. unregelmäßig

Note: Includes bibliographical references

Note: Anfangs ohne Zählung

Note: Korean edition , "The exhibition in Korea is organized by the Metropolitan Museum of Art, New York, in collaboration with the National Museum of Korea"

Note: Repr.: New York, NY [u.a.] : Johnson , Beteil. Körp. anfangs: International Institute for the Conversation of Museum Objects , Zsfassung in dt. Sprache

Note: Ab No. 2 Text auf Deutsch, Abstracts auf Englisch

Note: Parallelsacht. ab 19.2005 , Ersch. 2x jährl.; 2020 nicht erschienen , Index 1/10.1987/96 in: 11.1997,1

Note: Text japanisch und englisch (in japanischer und lateinischer Schrift)

Note: Parallelsacht. ab 19.2005 , Ersch. 2x jährl.; 2020 nicht erschienen , Index 1/10.1987/96 in: 11.1997,1

Note: Erschienen: Bd. [1] (1981) bis Bd. [3] (1981)

Note: Parallelsacht. ab 19.2005 , Ersch. 2x jährl.; 2020 nicht erschienen , Index 1/10.1987/96 in: 11.1997,1

Note: Frontmatter , CONTENTS , INTRODUCTION , The Call , vestibular mantra (or radical virtuosities for a brave new dance) , PART 1 / CULTURAL PRESENCE: PLACEKEEPING AND BELONGING , Introduction , Aqui Estoy , Beauty, Justice, and the Ritual of Performance , An Accumulation of Things That Refuse to Be Discarded , Counting Coup on the Compartmentalization of Indigenous-Made Rap Music , Cultural Resiliency in the Face of Crisis: Learning from New Orleans , Collectively Directing the Current , The New Eagle Creek Saloon , Notes from Technotopia 3.0: On the "Creative City" Gone Wrong-an Antigentrification Philosophical Tantrum, 2012 - 2016 , "Building Temples for Tomorrow": Cultural Workers as Construction Crews , Invasive Species , Sunny and 150 Years of Placekeeping in Little Tokyo , Local Fruit Still Life , Stage One: Establishing Community , Red 40 , More Nodes from the Performance Essay Los Giros De La Siguiente/the turns of the Next , PART 2 / DISMANTLING BORDERS, BUILDING BRIDGES: MIGRATION AND DIASPORAS , Introduction , Mano Poderosa , A Cosmos of Dis/Joints , Cross-Border Citizens , Indian Alley, Where Art Is Healing , Vessels: A Conversation , Fence , A Touch of Otherness , Harmattan Haze , Who Is the #EmergingUS? , Justice and Equity: We're Coming for It All , building bricks for communal healing , We Never Needed Documents to Thrive , prop·er , Alongside: On Chinese Students in the United States and the Fight for Black Lives , Love Spirals: Notes on Brown Feelings , PART 3 / CREATING A WORLD WITHOUT PRISONS: CULTURE AND THE CARCERAL STATE , Introduction , To Create in Prison , A Measure of Joy , There Is No Abolition or Liberation without Disability Justice , HOGAR , I Remember , Coming Home , Singing Our Way to Abolition , Standing in the Gap: Music as First Responder , Locked in a Dark Calm , As Crazy as the World Is, I Do Believe , Jumpsuit Project , The Bonds of Aloha: Connecting to Culture Can Free Us , The Nail That Sticks Out , Art Is a Trojan Horse: Reclaiming Our Narratives , Try/Step/Trip (Excerpt) , The Evanesced Series (2016 - ) , PART 4 / EMBODIED CARTOGRAPHIES: RENEGOTIATING RELATIONSHIPS WITH LAND , Introduction , Kiksuya , America Doesn't Exist , Between the Real and the Imagined: A Conversation with Lyla June and Tanaya Winder , Sopa de Ostión , Island Earth: Water, Wayfinding, and the Currents That Connect Us , ACCESS DENIED: Creating New Spatial Understandings , Essential Economy , Earth Mama II , We Are Part of This Land , Mauka House , Withholding an Image: Disciplinary Disobedience and Reciprocity in the Field , Thinking through Fragments: Speculative Archives, Contested Histories, and a Tale of the Palestine Archaeological Museum , Secrets That the Wind Carries Away , Ohiŋniyaŋ ded wati kte: This Place Will Always Be Home , Ballers , PART 5 / LIVING OUR LEGACY: ANCESTRAL KNOWLEDGE AS RADICAL FUTURITY , Introduction , These Roots Run Deep , The Future Is Ancient , Being in Oneness: Conversations with Nobuko Miyamoto, Kamau Ayubbi, and Asiyah Ayubbi , 1619 , Encircling the Circle: Blood Memory and Making the Village-a Conversation between Cleo Parker Robinson and Malik Robinson , Culture and Tradition: A Monument to Our Resilience , Español , Apsáalooke Feminist #4 , Mother's Words and Grandmother's Thoughts: Living the Right Way (a Conversation) , The AIM Song , Gullah/Geechee Sea Island Reflections of Futurity , For Paradise , What Is the New Basket That We're Going to Weave? , I ka wā ma mua, i ka wā ma hope: 'Ōiwi Orientations toward a Radical Futurity , The Art of Peer Pressure: Black Fire UVA! , PART 6 / CURRENTS BEYOND: ARTISTS SHIFTING PARADIGMS OF INEQUITY , Introduction , Bang Bang , The Cultural New Deal for Cultural and Racial Justice , We Begin by Listening , EMERGENYC: An Artistic Home for Emerging Artists , Listening through Dance , Scenes & Takes , Feminist Coalition and Queer Movements across Time: A Conversation between Alok Vaid-Menon and Urvashi Vaid , What Would Upski Think? , all organizing is science fiction , Rebirth Garments , A Call to Action , Huliau , SOVEREIGN , Flexing Hope Is a Practice , Azadi , AFTERWORD , emergence (after adrienne maree brown) , Acknowledgments , In English

Note: Literaturverzeichnis: Seite 159-165 und Index

Note: Includes bibliographical references and index

Note: Includes bibliographical references

Note: Description based on publisher supplied metadata and other sources

Note: "First published on the occasion of the exhibition 'Entangled pasts, 1768-now: art colonialism and change', Royal Academy of Arts, London, 3 February - 28 April 2024"

Note: Ab 1999 ungezählte Beil.: Novum + , Ersch. monatl. , Text dt. u. engl

Note: Zeit und Ort der Ausstellung: 25.10.2020 bis 11.01.2021, MOMAT , Text auf Englisch und Japanisch

Note: "Based on the author's dissertation (Ph.D.), York University, 2014, under the title: International relations and contemporary artwork : Canadian settler colonialism, indigenous self-determination, and decolonising visuality" , Mit Literaturangaben und Index

Note: Hier auch später erschienene, unveränderte Nachdrucke

Note: Rückseite Titelblatt: Published on the occasion of the exhibition "Second Careers: Two Tributaries in African Art", July 11 to November 29, 2020, at the Cleveland Museum of Art