botwinick michael (21 Ergebnisse)

Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Used book that is in clean, average condition without any missing pages.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Near Fine: 1983 name inside cover, else very clean, straight, binding tight. Paperback, 8.5x11", 96 pp. Published for the exhibition "Carl Larsson" at New York: The Brooklyn Museum Nov 10, 1982-Jan 30, 1983.

. (illustrator). Fine: clean, straight, never fully opened. Large Paperback 11?, 96 pp. This book was published for the exhibition "Carl Larsson" at The Brooklyn Museum, New York, November 10, 1982-January 30, 1983. . .

Perfect Paperback. Zustand: Fine.

Softcover. Booklet [8x10 inches]; VG/paperback; yellow pictorial covers show minimal wear; fully intact binding; textblock clean; illustrated; pp 33; inscribed by Red Grooms; arts - Modern NOTE: Shelved in Locked Annex Area, Oversized Ephemera Case. 1367924. FP New Rockville Stock.

Zustand: Good. 8vo. 160 pp. Red cloth-covered boards with black titles and printed dust jacket. Very good with staining and edgewear from use along dust jacket. Mostly black and white plates. Published for the exhibition ?30 Years of American Printmaking? at the Brooklyn Museum from November 20, 1976 through January 30, 1977. Previous owner's (Pasquale Iannetti) stamp and lending card on inside front cover.

Paperback. Zustand: Brand New. 120 pages. 9.90x0.40x8.00 inches. In Stock.

Paperback. Zustand: Very Good. Trade PB. 4to. Published by Hudson River Museum, Yonkers, NY, 2008. 33 pgs. Illustrated with 26 color reproductions, 3 BW photos. Signed by Red Grooms. Wrappers lightly worn with some light shelf-wear to the extremities present. Book is free of ownership marks. Text is clean and free of marks. Binding tight and solid. One of America s major artists with a truly popular following, Red Grooms returned to the Hudson River Museum thirty years after his creation of The Bookstore a gem in the Museum s permanent collection that has become an artistic emblem of Westchester County. The worlds that inspire Grooms stretch from silent movies to dance halls to America s urban canyons and first colonies. Red Grooms grew up in Nashville and began his career as an actor. His sense of theater is integral to the multimedia experience he creates in sculpture, paintings, and films. Now a quintessential New York artist, Grooms shows the city s people and their neighborhoods with both wit and acute comment. His commentary has endeared The Bookstore to thousands since its installation at the Hudson River Museum in 1979. EB; 8vo 8" - 9" tall; 33 pages.

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

Zustand: Good. 4to. 216 pp. Soft color wraps with printed clear plastic dustjacket. Good with staining from binding adhesive along endpapers and spine.Mostly black and white plates. Color frontis and wraps. Includes text by John R. Lane. Catalogue created on occasion of exhibition ?Stuart Davis: Art and Art Theory? at the Brooklyn Museum from January 21 through March 19, 1978 and at the Fogg Art Museum in Cambridge, MA from April 15 - May 28, 1978. Early edition. From the Collection of the Art Historian Peter Selz.

Zustand: Good. Catalogue for exhibition held Nov. 10, 1982-Jan. 30, 1983. 4to. 96 pp.; illus. Ex-library, else very good in wraps.

206 pp.; 31.2 x 23.8 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show "Both Art and Life: Gemini G.E.L. at 25," held at the Newport Harbor Art Museum, Newport Beach, California, September 22 - November 29, 1992. Introduction by Michael Botwinick, text by Mark Rosenthal. Photographs of the artists by Sidney B. Felsen. Featuring interviews with the artists, including Jasper Johns, John Baldessari, Jonathan Borofsky, Richard Diebenkorn, Mark di Suvero, Ellsworth Kelly, Edward Kienholz, Nancy Reddin Kienholz, Roy Lichtenstein, Malcolm Morley, Claes Oldenburg, Ken Price, Robert Rauschenberg, Richard Serra, and Saul Steinberg. Includes checklist. Fine. Covers and contents clean and unmarked. Inscribed in pen on title page with note from Sidney and Stanley. Due to large size and weight additional shipping charges may be required.

Zustand: New. 2020. 01st Edition. Hardcover. . . . . . Books ship from the US and Ireland.

Encuadernación de tapa blanda. Zustand: Bien. Tapa blanda. Buen estado. Fotografías color. Photographs by Seth Joel. Historia del arte. Idioma: Inglés.

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

Hardcover. Zustand: Sehr gut. Zustand des Schutzumschlags: Gut. OLwd, silb. Rückentitel, blindgepr. Deckeltitel, OUmschl., 4° 231 S., Schutzumschlag stellenw. gering gebräunt, sonst ein tadelloses Exemplar.

Gebunden. Zustand: New. &Uumlber den AutorrnrnMichael Botwinick has been Director of the Hudson River Museum since 2001. He has served as Director of the Brooklyn Museum, the Corcoran Gallery of Art in Washington, DC, the Newport Harbor Art Museum in Orange County, CA.

Hardcover. Zustand: Brand New. 01 edition. 223 pages. French language. 12.25x11.25x1.00 inches. In Stock.

Buch. Zustand: Neu. Neuware - Fifty years of 'essential' painting by the Austrian-born American figurative painter (1948). Andrew Stevovich is a deceptive painter. His figures flattened, his interest is focused on the line that defines them. He rarely concedes to conventional tools like shading to express volume. The figures'inner states seem equally reticent. The repetitiveness of their forms seem to be decorative intent. Their apparent stillness has the same effect. We think we have identified a vocabulary of form, and having done so, conclude that is at the heart of his work. And then we move on. But should we Stevovich's work is complex and layered. His figures give up their secrets slyly.Deeply rooted in the European painting tradition, Stevovich uses all of the tools developed over the last several centuries to animate his subjects. He borrows deeply from Renaissance painting. He is attuned to the sensibility of the 19th century and to Americans, pre-and post-war. These are the building blocks of his visual vocabulary. However, he is not an artist of historical quotation. All of these influences pass through the lens of his disciplined restraint to remarkable effect. Layers of activity move toward the surface of his paintings and are captured in a kind of stop motion, it is what makes even his busiest paintings seem so silent. He has developed an extraordinary collection of tools to animate his work and the figures in it. But he never relinquishes his severe constraint of them. This contradiction is purposeful and is at the core of understanding his work.Beyond the Figure examines 120 of the artist's work painted over a period of 50 years. While it shows the full range of his development, it does so looking at the dominant themes and typologies of his work rather than charting it chronologically. Stevovich has created a world, but he is not a realist. While people are his subject, line, color and form are his enduring interests.