brown cecily (55 Ergebnisse)

Zustand: acceptable. This copy has clearly been enjoyedâ"expect noticeable shelf wear and some minor creases to the cover. Binding is strong, and all pages are legible. May contain previous library markings or stamps.

Zustand: Fine. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

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. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

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

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

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

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.

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

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Zustand: Acceptable. General wear, a good reading copy. shelf wear. bumped edges. worn spine Hardcover.

paperback. Zustand: fine. Cecily Brown (illustrator). Illustrated in color. 57 pages. Thin, square 4to, red printed wrappers. New York: Gagosian Gallery, (2003). A fine copy. Exhibition catalogue 19 February - 16 March, 2002.

First Edition. First edition and first printing. Hardcover. Exhibition catalog for a show that ran January 22 through February 26, 2005 in New York and March 31 through May 27, 2006 in London. Features an essay by Johanna Drucker. Includes numerous color illustrations, a list of previous exhibitions, biographical information, and a selected bibliography. An about good copy in paper covered boards with a cloth spine and corners but with some evidence of moisture to the bottom edge of the last ten pages or so but no impact on the text or images. No dust jacket as issued. A solid reference copy.

paperback. Zustand: fine. Zustand des Schutzumschlags: fine. BROWN, Cecily (illustrator). Color reproductions throughout. 158 pages. Square 4to, matte pictorial wrappers, matching pictorial d.w. New York: Phaidon, (2020). A fine copy in a fine dust wrapper.

Paperback. Zustand: Brand New. 142 pages. 8.00x6.00x0.50 inches. In Stock.

56 pp.; 41 x 29 cm.; loose leaves; black-and-white & color; edition size 1000; unsigned and unnumbered; offset-printed; Faux periodical / artist's publication published by Aleksandra Mir on September 11, 2002, on the occasion of her 35th birthday and the first anniversary of 9/11 in order to reclaim the day, featuring contributions from over 100 friends and colleagues. Contents include: "Editorial," by Aleksandra Mir; "Happy Birthday from the Lighthouse," by Peter Hill; "To the Editor," by Tim Griffin; "Emergency Love," by Adam McEwen; "Nobody Gives a Shit," comic by Dan Perjovsch; "How to Ride the Bus," by Jennifer Bronstein; "Bike Wreck," by Dan Wilken; "Artists'' Shocking 9/11 Predictions Bring Laughs to New York Celebs at Christie''s ''Central Asian Furniture Show'' and Charity Fundraiser! 700 People in Attendance!;" "Inventory list of my father''s compulsive collection of airline silverware between 1989 - 1997," by Cornelia Schbleck; "B irthday," by Raimar Stange; "Bring in the Clowns: Andy Smith of The Moscow State Circus interviewed by Polly Staple;" "Sydney in September," by Simon Rees; "Long Photographs," by Emil Goh; "Pink Tank;" "The Usher," by Cedar Lewisohn; "The best thing that happened to me in 2002 was that Theo my cousin became a goth and his mate Corrin became a punk," by Tasha Amini; "The World Still Turns," by Kathy Temin; "Alien Sighting," by Samuel Blum; "McCartney & Narcissus," by Gabriel Fowler; "Punching Through the Clouds," Miles Boyce after Mies Van der Rohe; "Crash America," by Ken Hollings; "The World''s Greatest Rebel - at 88," by Andrew Wilson; "Structure Kills," text and photos by hobbypopMUSEUM; "First Woman Takes North Pole!," by I. Hope Halperin; "Cities, Holiday Hotspots and Commerce Zones Rethink Slogans," by Jarrett Mitchell; "Advertisement," by Cecily Brown; "Family Takes Break," by Michelle Grabner; "Tire on Fire," by Brad Killam; "The Housitter''s Club in More Trouble with the Law than Oak Park Homeowners," by Amy Park Saxe; "I read ''Big Asteroid Leaves Scientists Unruffled'', Was Ruffled," by Curtis Whaley; "Abstract Sculpture from Park to Somewhere Else," by Wade Guyton; "September 11 Memorial," by Jeffry Vallance; "The Event Forces Us to Think," by Roger Cook; "11th September," by Kathrin Boehm; a drawing by Claude Closky; "You Deserve to Break Something; "Virulent Images," by Leif Elggren; "QRU (Wuick Response Unit)," by Gavin Wade & Garrick Jones; newspaper clipping submission by Piotr Uklanski; an image by Richard Kern; "Holiday Column," by Aleksandra Mir; a text by Andy Stillpass; "I Remember," by Kaethe Cherney; a text by James Angus; "That Horoscope," by Onome Ekeh; "Skyjack Sunday Over Europe;" "The Long Haul," by Russel Storer; "Strategic Questions," curated by Gavin Wade; "What is Negative? Why?," by Alexsandra Mir for Gavin Wade; "Top Tips," by Kate Fowle; "The Masterpiece," comic by Olivia Plender; "Aldous Eveleigh''s exhibition.;" Image with caption by Harry Staple; image by Milos Manetas; "Re: FWD: A Statement of Conscience," signed by multiple artists including Laurie Anderson, Ida Applebroog, Noam Chomsky, Eve Ensler, Leon Golub and many others; "A Cockney Poem," by Matthew Arnatt; "Curtain," by Paul Noble; "Kisses Honeywagon - The Novel;" "Page Twenty-Six," by Wallace Robertson; "Guarding the dog and the cows," by Antje Majewski and Ingo Niermann; photograph by Gurvan Madec; "woman is." by Dave Beech; "Barman Joe Latimore chronicles the underbelly of New York''s nitelife;" "Ubiquitous Recluse Revives the Eternal," by Johnny Gato; "In Memoriam: Katri Vala," by Cecilia Stenbom and Minna L. Henriksson; "Chalk Circles," by Katri Vala; "Book Review: The Selected Letters of Marianne Moore," by IB; "Suicide Note," by Nanogod; comic by Roberto Cuoghi; "Beware of Windows!," by Stefan Saffer; texts by Jonas Maria Schul; "Recipes," by Coeinna Durland; "My Friend Najla''s Babaganoush," by Jennifer Higgie; "Eulogy for the Living," by Christian Holstad; "Oh Superman," Karl Holmquist after Laurie Anderson; "Birthday Party part III," by Mika Hannula and more. Backcover: "I (Bomb) NY," by Bernadette Corporation. "September 11, 2002. Enjoying my hot-off-the-press Daily on Avenue B with a cup of burned deli coffee. New York''s Hometown Newspaper was printed in an edition of 1,000 on the first anniversary of 9-11, to reclaim my birthday on the same day The newspaper contains articles, poems, drawings, ads, and all sorts of stupid beautiful shit solicited from over 100 physical artist friends and univocally accepted under the open editorial policy as birthday gifts. The back I BOMB NY logo is by the Bernadette Corporation. Looking back though, it is interesting how certain mainstream politicians have taken all our avant-garde strategies, DADA, Punk, Fiction, Surrealism, Performance, Wigs, even FAKE NEWS (homage: Yves Klein), squeezed the dear soul out of them, and weaponized them for their delinquent purposes. If that is really the case of our times, then what is the role of an artist today? Discuss." -- Artist's statement Very Good / Fine. Light yellowing of covers, light bumping of bottom edge and slight curl to spine. Otherwise clean and unmarked. Due to large size of this publication additional shipping charges will be required for international orders.

Hardcover. Zustand: Good. Some scuffing to boards.

First edition, first printing. Fine paperback exhibition catalogue.

Zustand: New.

kart. Zustand: Sehr gut. 48 Seiten, 25 farb. Abb. / 48 pp. w. 25 col. ill. Sehr guter, fast tadelloser Zustand. / Very good, almost flawless copy. - BEIGELEGT eine Karte des Herausgebers Bruno Brunnet an Kaspar König. / ENCLOSED a card from the editor Bruno Brunnet to Kaspar König. / Deutsch mit englischer Übersetzung / German with english translation. / DE: Ausstellungskatalog; CFA Contemporary Fine Arts Berlin: 17/9 - 29/10/2022. --- Cecily Rose Brown (* 1969 in London) ist eine britische Malerin, die in New York lebt und arbeitet und zu den bedeutendsten zeitgenössischen Künstlerinnen der Gegenwart zählt. Ende der 1990er Jahre erregten ihre großformatigen, expressiven Bilder mit erotischen Szenen Aufsehen. "Ich benutze erotische Fotografien, um den Körper zu studieren. Dabei interessiert mich der emotionale Gehalt dieser Vorlagen", so beschreibt Cecily Brown ihre malerische Vorgehensweise. In ihren an der Grenze zwischen Abstraktion und Figuration liegenden Bildern werden organische Formen und Menschen angedeutet und gelegentlich nur durch leuchtendes Rosa, Rot, Orange und Ocker wiedergegeben. Browns Werk ist unter anderem beeinflusst von Nicolas Poussin, Édouard Manet, William Hogarth sowie Francis Bacon und Willem de Kooning. In den jüngeren Bildern widmete sich Brown zunehmend der Darstellung von Landschaften, trennte sich auch hierbei nie völlig von ihren erotischen Motiven. Cecily Brown wird von bedeutenden Museen wie dem Solomon R. Guggenheim Museum, New York, dem Whitney Museum of American Art, New York und der Tate Gallery, London, gesammelt. Sie gilt als erfolgreiche Künstlerin einer neuen expressiven Malerei. (wiki) // INHALT: Daniel Kehlmann, mit "Die Vermessung der Welt" (2006) der international erfolgreichste deutsche Schriftsteller der letzten Jahre, schreibt in diesem eleganten Büchlein über die neuesten Gemälde von Cecily Brown: "Um es nüchterner zu formulieren: Cecily Browns Kunst zeigt, wie oberflächlich und uninteressant der scheinbare Gegensatz zwischen Objekt und Abstraktion ist. Zweifellos hat der Konstruktivismus in einem Punkt recht: Aus einem Wirrwarr von Eindrücken setzen wir selbst, nach unseren eigenen, nicht gerade zuverlässigen Regeln, ein fragiles Modell zusammen. Schließlich beobachten wir unsere Umgebung nicht einfach, wir bewegen uns durch sie hindurch, unsere Außenwelt zerfällt also ständig, ordnet sich immer wieder neu an, und nur die ständige Arbeit unseres Bewusstseins hält den Anschein von Konsistenz aufrecht. Cecily Brown verfremdet die Welt nicht, sie malt sie, wie sie tatsächlich ist, ein Spiel aus Farben und Schatten." (snoeck) / EN: Exhibition catalogue; CFA Contemporary Fine Arts Berlin: 17/9 29/10/2022. / CONTENT: Daniel Kehlmann, the most internationally successful German writer in recent years with »Measuring the World« (2006), writes about Cecily Browns latest paintings in this elegant booklet: »To put it more soberly: Cecily Browns art shows how superficial and uninteresting the apparent opposition between object and abstraction is. Undoubtedly, constructivism is right about one thing: Out of a jumble of impressions, according to our own not exactly reliable rules, we ourselves assemble a fragile model. After all, we dont simply observe our surroundings, we move through them, thus our external world is perpetually disintegrating, rearranging itself in ever-changing ways, and only the constant work of our consciousness maintains the appearance of consistency. Cecily Brown doesnt defamiliarize the world, she paints it as it actually is, a play of color and shadows.« (snoeck) ISBN 9783864424045 Sprache: Englisch Gewicht in Gramm: 257.

Soft cover. Zustand: As New. An as-new copy still sealed in publisher's plastic shrink-wrap. No tears to shrink-wrap. No bumping to corners. An unopened and unread copy. s159.

Soft Cover. Zustand: Near Fine. This is a near fine softcover copy with virtually no wear. Completely clean. This catalog was prepared to accompany the exhibition at the Drawing Center in New York in 2016. Curated by Claire Gilman. Essays by Gilman and David Salle. Illustrated throughout in color with 80 plates + smaller illus. in the text. Drawing Center bookmark designed by Cecily Brown laid in. 9" high X 6" wide, 140 pages. This book will be securely packed and shipped with tracking.

sonst. Bücher. Zustand: Neu. Neuware - Cecily Brown s uncanny artDaniel Kehlmann, the most internationally successful German writer in recent years with »Measuring the World« (2006), writes about Cecily Brown s latest paintings in this elegant booklet: »To put it more soberly: Cecily Brown s art shows how superficial and uninteresting the apparent opposition between object and abstraction is. Undoubtedly, constructivism is right about one thing: Out of a jumble of impressions, according to our own not exactly reliable rules, we ourselves assemble a fragile model. After all, we don t simply observe our surroundings, we move through them, thus our external world is perpetually disintegrating, rearranging itself in ever-changing ways, and only the constant work of our consciousness maintains the appearance of consistency. Cecily Brown doesn t defamiliarize the world, she paints it as it actually is, a play of color and shadows.«Exhibition:CFA Contemporary Fine Arts Berlin: 17/9 29/10/2022; Cecily Brown : Le charmeDaniel Kehlmann, le plus grand auteur allemand à succès des années 2000 avec son roman «Les Arpenteurs du monde» (2006), écrit dans cet élégant petit livre à propos des derniers tableaux de Cecily Brown: «On peut aussi le dire plus sobrement: l art de Cecily Brown montre à quel point l opposition apparente entre objet et abstraction est superficielle et inintéressante. Car le constructivisme a raison sur un point: nous assemblons nous-mêmes, selon nos règles personnelles pas spécialement fiables, à partir d un fouillis d impressions un modèle mobile et fragile. En effet, nous ne nous contentons pas d observer notre entourage, nous nous déplaçons à travers, ce qui fait s effondrer en permanence notre monde extérieur, avant de s ordonner de nouveau et d une manière toujours différente, et seul le travail permanent de notre conscience nous donne l apparence de la constance. Cecily Brown ne distancie pas le monde, elle le peint tel qu il est réellement, un jeu de couleur et d ombre.»Exposition :CFA Contemporary Fine Arts Berlin: 17/9 29/10/2022; Cecily Browns unheimliche KunstDaniel Kehlmann mit dem Roman »Die Vermessung der Welt« (2006) der international erfolgreichste deutsche Autor der 2000er Jahre, schreibt in diesem eleganten Büchlein über Cecily Browns neueste Bilder: »Man kann es auch nüchterner sagen: Cecily Browns Kunst zeigt, wie oberflachlich und uninteressant der scheinbare Gegensatz zwischen Gegenstand und Abstraktion ist. Denn in einem hat der Konstruktivismus ja recht: Wir selbst fügen nach unseren eigenen nicht eben zuverlassigen Regeln aus einem Wirrwarr der Eindrücke ein bewegliches, brüchiges Modell zusammen. Wir betrachten ja unsere Umgebung nicht einfach, wir bewegen uns durch sie, somit zerfallt unsere Außenwelt dauernd, ordnet sich neu und immer anders, und nur die standige Arbeit unseres Bewusstseins erhalt uns den Anschein von Konstanz. Cecily Brown verfremdet die Welt nicht, sie malt sie so wie sie eigentlich ist, ein Spiel von Farbe und Schatten.«Ausstellung:CFA Contemporary Fine Arts Berlin: 17/9 29/10/2022.

Zustand: New. In.

ESSL Museum, Klosterneuburg/Wien 2012. 4to. 48 pages. Illustratted in colour. Original illustrated boards with green spine. Light traces of use. Near fine-. * Text in German.

Hardcover. Zustand: Brand New. 272 pages. 11.30x10.25x0.04 inches. In Stock.

Zustand: Very good.

23 x 24 cm 57 pp with colour illustrations throughout. wrappers with flaps, fine copy.