almereyda michael (27 Ergebnisse)

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Zustand: Brand New. 248 pages. 6.75x5.50x0.80 inches. In Stock.

Zustand: New. In.

Hardcover. Zustand: Brand New. 240 pages. 11.25x9.50x1.00 inches. In Stock.

Zustand des Schutzumschlags: dj. First Edition. Fourth printing. Hardcover. Features essays by Michael Almereyda, Lloyd Fonvielle, Kristine McKenna, Greil Marcus, and Amy Taubin. Includes 96 four color plates which means this version has an additional 8 photographs that didn't appear in the first printing. A fine in cloth boards in a fine dust jacket. As new and still in the publisher's shrinkwrap.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In.

hardcover. Zustand: New. New from the publisher.

Hardcover. Zustand: Brand New. limited edition. 150 pages. 12.25x12.25x1.00 inches. In Stock.

Hardcover. Zustand: Brand New. limited edition. 150 pages. 12.25x12.25x1.00 inches. In Stock.

Hardcover. Zustand: Brand New. limited edition. 150 pages. 12.25x12.25x1.00 inches. In Stock.

Buch. Zustand: Neu. Neuware - 'An iconoclastic and essential voice in American film criticism, Manny Farber (1927-2008) was also a remarkably resourceful painter. This book celebrates Farber's lush visual art, showcasing his table-top still lifes crammed with personal associations, pop artifacts, and scrawled wisecracks--a series of intimate yet indirect self-portraits, spanning decades. Samples of Farber's sly, brash art criticism, previously uncollected, are offered alongside film reviews, manuscript pages, school quizzes, and notes. The book's editors provide essays and additional commentary; tribute and analysis are supplied by nearly two dozen other contributors, including Richard Armstrong, Olivier Assayas, Bill Berkson, Durga Chew-Bose, Anne Boyer, Moyra Davey, Josephine Halvorson, JP Gorin, Greil Marcus, Carol Mavor, Patricia Patterson, Chris Petit, Amanda Petrusich, Kelly Reichardt, Jonathan Rosenbaum, Luc Sante, Robert Storr, Gina Telaroli, Wim Wenders, Robert Walsh, and Alice Waters'.

Buch. Zustand: Neu. William Eggleston: For Now | Michael Almereyda | Buch | Gebunden | Englisch | 2021 | Twin Palms Publishers | EAN 9781931885935 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Buch. Zustand: Neu. Neuware - A revised edition of unpublished pieces from the 'B-sides' of Eggleston's archive, curated and analyzed by Hollywood writers, directors and authors.

Buch. Zustand: Neu. Neuware - Rarely-seen color work from the preeminent master of postwar American street photography.

Hardcover. Zustand: New. Zustand des Schutzumschlags: New. 1st Edition. First edition, first printing. Hardcover. Fine terra cotta colored cloth, with title stamped in black on spine; with photographically illustrated dust jacket. Photographs by William Eggleston, selected by Michael Almereyda (the director of the 2005 film "William Eggleston in the Real World.") Texts by Michael Almereyda, Lloyd Fonvielle, Greil Marcus and Amy Taubin. Interview with Eggleston by Kristine McKenna. Includes a list of plates. Designed by Michael Almereyda and Jack Woody. 144 pp., with 87 four-color plates finely printed on heavy matte paper. 13-3/4 x 12-1/4 inches. Published to coincide with a major retrospective exhibition, "William Eggleston: Democratic Camera - Photographs and Video, 1961-2008," at the Los Angeles County Museum of Art and traveling to other venues. This first edition was limited to 3,000 copies. New in publisher's shrink-wrap. From the publisher: "For Now is the result of filmmaker Michael Almereyda's year-long rummage through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising." From Michael Almereyda: "William Eggleston's photographs are always about looking. They distill a sense of heightened attention--alertness, anticipation, awe--from fragments of ordinary, unmanipulated reality. But the 'ordinary' in Eggleston is often charged with an air of mystery and menace, a Halloween atmosphere leaking into every season he records. A quality of vulnerability and play converges with unease, dread, the possibility of mayhem. This new book, William Eggleston: For Now, presents over 90 previously unpublished color photographs pulled from Eggleston's back files, spanning four decades of work. The title is meant as an open nod to the immediacy of pictures plucked from near-oblivion, a salute to their freshness, their nowness. The selection is tidier, more self-contained, than I first expected--a bouquet brought back from an archival jungle. Most of the pictures feature people, and many of the subjects are the photographer's blood relations and close friends. The emotional temperature is at once tender and aloof, extending to images of strangers in parking lots and suburban yards, which is aligned with Eggleston's enduring fascination with frayed commercial spaces, cars, signs, cracked sidewalks, light bulbs, bricks, clouds, with rural porches, broken fences, spilled trash, ditches, puddles, architectural gaps and divides--the spaces between spaces, the mundane, the makeshift, all the fragmentary raw proofs of civilization as a perishable human construction that, nevertheless, provide subject matter for vibrant photographs. When I reviewed a rough layout with Bill, he was pleased to see so many pictures he had clean forgotten about. He offered his approval alongside a bemused comment that the book comes close to being a family album.".

Hardcover. Zustand: New. Zustand des Schutzumschlags: New. 1st Edition. First edition, first printing. Hardcover. Fine olive-green cloth-covered boards with title stamped in black on spine, with photographically illustrated dust jacket. Photographs by William Eggleston. Essay by Michael Almereyda. Includes two-sided four-color poster (22 x 14-3/4 inches) for Eggleston's film "Stranded in Canton" (recto), and Almereyda's film "William Eggleston in the Real World" (verso). Designed by Jack Woody. Unpaginated (120 pp.), with 32 four-color and 29 black and white plates, the essay text printed blue, gray and black; all beautifully printed on heavy matte stock. 14-1/4 x 10-7/8 inches. This first edition was limited to 4000 hardbound copies. Out of print. New in publisher's shrink-wrap. One of the very best monographs of Eggleston's work published to-date! From the publisher: "William Eggleston's latest monograph features photographs taken during the early 1970s using a large format 5x7 camera. While the book includes imagery typical of the Eggleston oeuvre-- streetscapes, parked automobiles, portraits of the strange and disenfranchised--the book also offers never-before-published photographs taken in the nightclubs Eggleston used to frequent." According to Walter Hopps, "With it [his camera and portable strobes] Eggleston could shoot in virtual darkness in the juke joints and clubs around Memphis. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. The portraits have a leveling effect--whether biker or debutante, the people Eggleston photographed are clearly denizens of the same realm. [He] is reminding us: look closely, each of these individuals is subtly different." And from Johanna Burton, in Artforum: "Riveting as the sitters' accoutrements are, most compelling is the way in which each person is at once magnifed--laid bare and vulnerable. . . . Staring, smiling, grimacing, glowering, these are less portraits of 'individuals' than of the expressions that settle fleetingly on their malleable features. Each face feels stranger and more physically ambivalent than the next.".

Zustand des Schutzumschlags: dj. First Edition. First edition and first printing. Hardcover. 96 pages. Features text by Michael Almereyda along with the text of his conversation with Eggleston. A collection of color and black and white plates of a wide ranging images all taken with a 5 x 7 camera. Includes a total of 57 four color plates. A fine copy in cloth boards and in a very near fine dust jacket and with laid in promotional poster that is in fine condition. Signed by Eggleston on the colophon page. Signed.

First Edition. First edition and first printing. Hardcover. Number 41 of only 50 copies. Edited by Michael Almereyda and Susan Kismaric. Features an afterword by Almereyda. While best known for his black and white photographs, Winogrand shot over 45,000 color images between the 1950s and 60s. This monograph includes 150 color images selected from the archives at the Center for Creative Photography. A fine copy in red cloth boards and in a matching red cloth slipcase with color image inset into the front panel and in the publisher's original plastic bag. No dust jacket as issued. A very fresh copy that presents a seldom seen view of this body of work. Please note that this is a heavy book and will require extra shipping.

Zustand des Schutzumschlags: dj. First Edition. First edition and first printing. Hardcover. 96 pages. Number 96 of only 150 copies. Features text by Michael Almereyda along with the text of his conversation with Eggleston. A collection of color and black and white plates of a wide ranging images all taken with a 5 x 7 camera. Includes a total of 57 four color plates. A fine copy in cloth boards and in a fine dust jacket and fine cloth covered slipcase and with laid in promotional poster that is in fine condition. Signed by Eggleston on the colophon page. Signed.

Zustand des Schutzumschlags: dj. First Edition. First edition and first printing. Hardcover. Number 63 of 100 copies. Features essays by Michael Almereyda, Lloyd Fonvielle, Kristine McKenna, Greil Marcus, and Amy Taubin. Includes 87 four color plates. A fine in cloth boards and in a fine dust jacket and in a fine slipcase. Signed by Eggleston on the colophon page. An as new copy that is still in the shrinkwrap slit open to verify signature. Signed.

Hardcover. Zustand: New. Zustand des Schutzumschlags: New. 1st Edition. Price is net to all; promotional discounts do not apply. First edition, first printing. Limited edition of 100 numbered copies (this being #44/100), signed in black ink on the colophon page by Eggleston. Hardcover. Fine terra cotta colored cloth, with title stamped in black on spine; with photographically illustrated dust jacket and slipcase. Photographs by William Eggleston, selected by Michael Almereyda (the director of the 2005 film "William Eggleston in the Real World.") Texts by Michael Almereyda, Lloyd Fonvielle, Greil Marcus and Amy Taubin. Interview with Eggleston by Kristine McKenna. Includes a list of plates. Designed by Michael Almereyda and Jack Woody. 144 pp., with 87 four-color plates finely printed on heavy matt paper. 13-3/4 x 12-1/4 inches. Published to coincide with a major retrospective exhibition, "William Eggleston: Democratic Camera - Photographs and Video, 1961-2008," at the Los Angeles County Museum of Art and traveling to other venues. New in New dust jacket and slipcase (in publisher's shrink-wrap). Opened only for signature. From the publisher: "For Now is the result of filmmaker Michael Almereyda's year-long rummage through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising." From Michael Almereyda: "William Eggleston's photographs are always about looking. They distill a sense of heightened attention--alertness, anticipation, awe--from fragments of ordinary, unmanipulated reality. But the 'ordinary' in Eggleston is often charged with an air of mystery and menace, a Halloween atmosphere leaking into every season he records. A quality of vulnerability and play converges with unease, dread, the possibility of mayhem. This new book, William Eggleston: For Now, presents over 90 previously unpublished color photographs pulled from Eggleston's back files, spanning four decades of work. The title is meant as an open nod to the immediacy of pictures plucked from near-oblivion, a salute to their freshness, their nowness. The selection is tidier, more self-contained, than I first expected--a bouquet brought back from an archival jungle. Most of the pictures feature people, and many of the subjects are the photographer's blood relations and close friends. The emotional temperature is at once tender and aloof, extending to images of strangers in parking lots and suburban yards, which is aligned with Eggleston's enduring fascination with frayed commercial spaces, cars, signs, cracked sidewalks, light bulbs, bricks, clouds, with rural porches, broken fences, spilled trash, ditches, puddles, architectural gaps and divides--the spaces between spaces, the mundane, the makeshift, all the fragmentary raw proofs of civilization as a perishable human construction that, nevertheless, provide subject matter for vibrant photographs. When I reviewed a rough layout with Bill, he was pleased to see so many pictures he had clean forgotten about. He offered his approval alongside a bemused comment that the book comes close to being a family album." Signed by Author.

Couverture souple. Zustand: bon. RO80238465: 2008. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 79 pages. Nombreuses illustrations monochromes et en couleur dans et hors texte. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon.

Two scripts for the 1989 film, including one Draft and one Revised Draft. From the archive of crew member Chris Scher. Title page (only) of the earlier draft is a second-generation copy made during production. All other leaves on both drafts are first-generation duplication, made from the master. Though not clearly noted on the drafts, these appear to be the First Revised Draft and Second Revised Draft. Not to be confused with the 1996 film starring Helen Hunt and Bill Paxton. Based on the 1989 novel "Oh!" by Mary Robison. As a tornado threatens their isolated farm property, a pair of dysfunctional siblings find themselves trapped inside with their bizarre extended family. Chris Scher has worked in American films from 1994 to the present. She was a propmaker, construction accountant/estimator/buyer, and carpenter on over 20 films, including "The Last Seduction," "Pulp Fiction," "From Dusk Till Dawn," "The Horse Whisperer (1998), "Joy Ride" (2001), and others. She also performed the same work for prestige television dramas, including "The Bridge" (2014), "Ozark" (2017), and "Yellowstone" (2018). Set and shot on location in Wichita. Draft: Self wrappers. Title page present, dated November 1987, noted as Rev., with credits for Robison and director and screenwriter Michael Almereyda. 106 leaves, with last page of text numbered 106. Xerographic duplication, rectos only. Pages Very Good plus, bound with two gold brads. Revised Draft: Self wrappers. Title page present, dated November 1987, noted as Rev., with credits for Robison and Almereyda. 128 leaves, with last page of text numbered 114. Xerographic duplication, rectos only, with pink and blue revision pages throughout, dated variously between 3/28/88 and 4/28/88. Pages Very Good plus, wrapper Very Good, with front wrapper detached from the binding, bound with two gold brads.