castle frederick ted (22 Ergebnisse)

Zustand: Good. Item in good condition and has highlighting/writing on text. Used texts may not contain supplemental items such as CDs, info-trac etc.

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

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

Paperback. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVery good. Some creasing. *.

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

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

Zustand: New.

Zustand: New.

Paperback. Zustand: Brand New. 241 pages. 8.75x5.75x0.75 inches. In Stock.

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

Paperback. Zustand: Brand New. 345 pages. 9.25x6.25x0.75 inches. In Stock.

Zustand: New.

Paperback. Zustand: Near Fine. First edition. 10 x 8 in. Exhibition catalogue with color plates. Condition is NEAR FINE ; like new with mild rubbing to covers. Signed with dedication by Dalglish. Art. Stax.

Zustand: New. 1984. Illustrated. paperback. . . . . . Books ship from the US and Ireland.

First Edition. First edition. Oblong softcover. 80 pages. Exhibition catalog for a show that ran March 20 through April 12, 1985 at the Hillwood Art Gallery of the School of the Arts at Long Island University. Features essays by Lawrence Alloway, Frederick Ted Castle, Tom Sandqvist, and curator Judy Collischan Van Wagner. Includes numerous black and white illustrations, brief biographical information, list of previous exhibitions, and a selected bibliography. A very good plus copy in wrappers with some light wear and from the library of Lucas Samaras with estate stamp. A very nice copy with an interesting provenance.

167 pp.; 25.7 x 21.4 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Issue edited by Bice Curiger. Essays "On Schnyderian Art," by Patrick Frey; "James Coleman: Charon," by Dieter Schwarz; "Disarming Perception," by Gary Garrels; "Speculation On Trucks, Cemeteries, Foxes And Other Images," by Julian Heynen; "Setting Standards," by Dan Cameron; "Shimmering Deep-Blue Purple," by Jean-Christophe Ammann; "Living In The Big Light," by Dave Hickey; "Interview James Turrell," by Richard Flood and Carl Stigliano; "The Irish Sky Garden Of James Turrell," by Frederick Ted Castle; "Richard Hamilton," by Lynne Cooke; "Cumulus From Australia," by Louise Neri; "Cumulus From America," by Kim Levin "Balkon," by Andrei Kovalyov. Insert by Beat Struli. Text in German and English. Very Good / Fine. Light wear to covers. Covers and contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.

Soft Cover. Zustand: Near Fine. Illustrated by Alice Neel (illustrator). 1st Edition. First Printing. Publisher's glossy illustrated card wraps. Profusely illustrated in color. This is the catalog of a 1985 exhibition at the Pennsylvania Academy of the Fine Arts, organized by John Cheim. Includes an 11-page interview with Alice Neel by Frederick Ted Castle. Illustrated with a frontispiece portrait of Alice Neel by Robert Mapplethorp; and 39 full-page, full-color reproductions of Alice Neel's paintings. The covers show only minor shelf-wear, else fine; unmarked, tight, square, and clean. NEAR FINE. . Color Plates. 4to 11" - 13" tall. Unpaginated pp.

Encuadernación de tapa blanda. Zustand: ' Buen Estado. Muy ilustrado a color y doble página, 220 pp. Size: 30 x 33. Sobrecubierta con algún desgaste en bordes.

Kartoniert / Broschiert. Zustand: New.

Taschenbuch. Zustand: Neu. Neuware.

SOFTCOVER. Zustand: Very Good. 1st Edition. 4to in colour printed stiff glossy card covers, unpaginated, approx. 76pp on glossy art paper, colour plates, etc. Text in English throughout . [CONDITION: VERY GOOD, a clean and tight copy (covers moderately edge-rubbed, mild wrinkle to leaves - The illustrations are nicely done but this is a poorly produced catalogue) ] . __To see more of our Art Monographs etc type DbbARTIST in the Keywords search box . . We always ship in STRONG PROTECTIVE CARD PARCELS.

Unbound. Zustand: Near Fine. Approximately 20-25 pieces. Minor light wear, including occasional creasing from folding and occasional closed tears, but in general in very good condition or better. Frederick "Ted" Corson Castle (1938-2006) was an art critic and experimental novelist who documented New York's contemporary art scene in writings for *Artforum, Art In America, Art Monthly* and other journals, as well as in numerous exhibition catalog essays for artists such as Alice Neel, Carolee Schneeman, and Pat Steir. His first novel, *Anticipation* (New Paltz, NY: McPherson & Co., 1984), was described by his publisher as "an unholy marriage of Gertrude Stein and James Joyce." His next novel, *Gilbert Green: The Real Right Way to Dress for Spring* (New Paltz, NY: McPherson & Co., 1986), was a roman à clef based on Andy Warhol's Factory (Castle had first made Warhol's acquaintance in 1967, when Warhol rode as a passenger in the taxi Castle was then driving.) Castle attended Williams College and the Columbia School of Journalism, and worked briefly for *The New York Times Magazine,* before turning his attention to novel writing and art criticism. He was also a co-founder, with Argentine artist and filmmaker Leandro Katz (see below), of the Vanishing Rotating Triangle Press, which published experimental works by Kathy Acker, John Ashbery and Guy Debord, among others. (Johnson, Ken. "Frederick Ted Castle, 67, Art Critic, Dies," The New York Times, May 29, 2006.) Taken in its entirety, the archive charts a small but fascinating constellation of avant-garde artists, writers, galleries and arts organizations principally active from the 1960s to the 90s, in what many now consider a vanished New York. In three principle groupings, as follows: Harry Mathews: Typescript, 9 pgs., of Castle's notes on, and transcription of an interview with, Harry Mathews, in preparation for the essay "Lies Like Truth - The Art of Harry Mathews," published in the fall 1987 issue of the Review of Contemporary Fiction. In a manila folder with Castle's autograph title, "Harry Mathews," on the tab in black marker. Mathews, a New York-born writer and long-time resident of Paris, New York and Key West, is the leading American proponent of the French experimental literary society Oulipo (Ouvroir de littérature potentielle, or Workshop of Potential Literature). Founded in 1960 by Raymond Queneau and François Le Lionnais, Oulipo brought writers and mathematicians together in pursuit of innovative formalist techniques in order to generate vigorous new approaches to literature. Among its best-known practitioners were Georges Perec and Italo Calvino. Mathews's novels, especially his first three - The Conversions, Tlooth, and The Sinking of the Odradek Stadium - are playful, densely allusive, highly digressive, formally experimental, all in the Oulipo manner. Mathews co-edited, with Alistair Brotchie, the Oulipo Compendium, a primary source for Oulipo writings in English. He also co-founded and co-edited, with the poets John Ashbery, Kenneth Koch and James Schuyler, the short-lived but influential literary journal Locus Solus. (He enjoyed fruitful literary friendships in particular with Perec and Ashbery.) Mathews was married twice, first to the artist Niki de Saint-Phalle, and after their divorce to the writer Marie Chaix. The fall 1987 issue of the Review of Contemporary Fiction (vol. VII, no. 3) was devoted to Mathews's work. The main repository for Mathews's papers is the Kislak Center for Special Collections, Rare Books and Manuscripts, at the University of Pennsylvania. It's unclear how well Castle and Mathews knew one another personally, though there is an obvious affinity between their work, and Mathews contributed a blurb to Castle's second novel, hailing it as a masterpiece. In any event, the typescript provides insight into the practices and habits of mind of both writers and into the contemporary literary zeitgeist. The typescript breaks down as follows: 4 pgs., sans-serif type, comprising Castle's reflections on Mathews, "after reading The Conversions one day and Tlooth the next (in the middle of May, while I was acting in a film vaguely about the Seventeenth Century.)." (Intriguingly, Castle doesn't name the film in which he appeared, though it is tempting to speculate that it may have been made by his friend and collaborator Leandro Katz, many of whose films are historical investigations.) The notes have a loose, associative quality, and fall under playful headings such as "THE BOOKS ARE NOT AS HILARIOUS AS GENERALLY THOUGHT," and "I AM CONSTANTLY REMINDED OF PARTICULAR PASSAGES IN MY OWN BOOKS." Castle considers Mathews's use of parody, fable, false erudition, and his literary antecedents ("it doesn't matter very much if HM is like anybody although of course one thinks immediately of Raymond Roussel.of Ronald Firbank, of Lautremont maybe, of Sade possibly, of Fielding somewhat, of Beaudelaire [sic] a little bit, of Poe more, of Joyce in many places."). Castle also uses the occasion to record, as in a diary, personal memories and musings. Reflecting on his own work in relation to Mathews's, for example, Castle provides a tantalizing glimpse of his social milieu: "I am reminded of a line from my first Typograph, called YOUTH IS POWER (a typograph for Mister Koch) -- referring to Kenneth Koch whom John Ashbery had just introduced me to after a reading at St. Mark's by Robert Creeley after a dinner at our house on Front Street with Janet and baby Jesse and David Craver, Janet's brother, who said not a word, at a party at Red Grooms' Loft where I also first met Anne Waldman in 1967." Of Miami, a setting for one of Mathews's novels, Castle notes poignantly, "My mother lived there in the early 30s and went to drama school with the later famous actor Joseph Cotten at Miami U. She and my grandmother lived there and in California in the early '30s because they couldn't afford to heat the house in Lockport." 1 pg., serif type, a cover sheet for the tr.