jaime davidovich (11 Ergebnisse)

Quiles, Daniel R. JAIME DAVIDOVICH in Conversation with Daniel R. Quiles. 240 pages. 8vo, boards. New York, Fundacion Cisneros, 2017.

Hardcover. Zustand: Brand New. bilingual edition. 238 pages. 9.25x6.25x1.25 inches. In Stock.

Zustand: New. KlappentextAs a fixture on the SoHo-based experimental art scene of the 1970s and 1980s, Argentine-American video/television-art pioneer and conceptual artist Jaime Davidovich (born 1936) has worked in a broad variety of mediums througho.

Soft cover. Zustand: Near Fine +. 1st Edition. Very near fine. Very slight bumping to corners and spine. Very light edge wear to covers. A lovely copy. .Appears unread. High quality black and white and colour printing.1950 pages.

Soft cover. Zustand: Very Good. A VERY GOOD FIRST EDITON SOFT COVER.WITH PAMPHLET FROM THE ART SHOW.

72 pp.; 27.9 x 21.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; 1984 issue of the art magazine Art Com edited by Carl E. Loeffler. Articles include "Beta Reports;" "Television Art;" "We Made Home TV," by Lynnette Taylor; "TV Art in New York;" photo essay by Jaime Davidovich; "Art That Gets 53 Miles Per Gallon: Ashley and Sanborn on Perfect Lives," by Mark Dery; "Sanborn and Winkler: The Making of Perfect Lives," by Lynnette Taylor: "Peter Gordon," interview with Mark Rubin; "Seven Templates: The Video Structure of Perfect Lives," by Lynnette Taylor; "Television Art and the Video Conference," by Carl E. Loeffler; "Learning the Language with Anderson and Winkler: Sharkey's Day - A New Video," by Lynnette Taylor; "The Robotic Revolution," by Willoughby Sharp; "Action Notes," by Darlene Tong; "San Francisco Funderground, Cabaret Performance 1979-1982," by Irwin Irwin "Operat Blanc: A Neoist Musical Tragedy," by Frank Stephanus. Very Good. Light rubbing and bumping of cover edges. Contents clean and unmarked and pages are tight to the spine.

First Edition. Softcover. First Edition. Published in conjunction with a group exhibition which opened at Akron Art Institute on December 17, 1972, running through January 28, 1973. Includes black-and-white images of works in the exhibition, along with brief biographical information for each artist. Very Good plus in lightly toned wrappers bound with a black comb.

[8] pp.; 21.5 x 17.7 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held at Bound & Unbound, New York, December 2 - December 23, 1989 of the mass produced stationary items published by Wooster Enterprises and designed by George Maciunas, Jaime Davidovich and Judith Henry. Includes biographies of the artists and a checklist of the exhibition as well as a looseleaf revised checklist. Reference : No. 454 in "The Book on Books on Artists' Books" by Arnaud Desjardin. London, England : The Everyday Press, 2011, pp. 241. Very Good. Bumping of corners with a 3 cm. crease to top right corner of recto. Light rubbing of covers. Contents clean and unmarked. Included inserted revised checklist.

2. New York, Diane Brown Gallery, 1988, in-8°, 24 x 20 cm, 24 pp, black/white ills., original softcover.

52 pp.; 20 x 22.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held May 9 - July 16, 1981. Exhibition examines the social, cultural, and political elements of the sixties that birthed the "alternative" movement -- specifically Gain Ground, Apple, 98 Greene Street, 112 Greene Street Workshop, Idea Warehouse, 3 Mercer -- and charts the effects it had on the art world. Curated by Jacki Apple, with preface by Marcia Tucker and essay by Mary Delahoyd. Artists include Vito Acconci, John Perreault, Robert Newman, Eleanor Antin, Billy Apple, Geoff Hendricks, Jerry Vis, Davi Det Hompson, Artwiser / Artweiser, Roger Welch, Bill Beckley, Susan Hall, Robert Kushner, Brad Davis, Gordon Matta-Clark, Suzanne Harris, Tina Girouard, Larry Miller, Richard Nonas, Jeffrew Lew, Jene Highstein, Nancy Holt, Cecile Abish, Peter Downsbrough, Douglas Davis, Virginia Piersol, Stefan Eins, Christopher McNeur, Dieter Froese, Stuart Sherman, Jaime Davidovich, and Bill Bierne. Includes images of selected works. Good / Very Good. Mild edgewear and yellowing of interior cover. Circular sticker on lower left corner of recto. Sticker adhesive from removed sticker on lower right corner of recto. Clean and unmarked.

New York: self-published, [1975]. Oblong octavo (21.6 ? 28 cm). Original limp black buckram wrappers with mounted photograph of a video still with the lettering of the title; 20 leaves printed to rectos with xerox copies containing numerous full-page reproductions of video stills. Very good. Rare, handmade catalog featuring a selection of videotapes made by Jaime Davidovich between 1972 and 1975. Each videotape is presented with production information, technical data, and a brief description of the content as well as images. The titles of the tapes are: ?Road?, ?Blue, Red, Yellow?, ?Baseboard?, ?3 Mercer Street?, "Interior", ?Two Windows?, and ?Surveillance? The last page is an order form with Jaime Davidovich's postal address. Jaime Davidovich initially began with the classic art genre of painting. Early on, however, he began to dissolve the boundaries of the medium, for example by attaching the painted canvas directly to walls, and later through installations on walls, floors, stairs, and sidewalks. Davidovich's striving for transgression was already evident here. Before he discovered film tape as a way of dissolving boundaries, he first explored the possibilities of adhesive tape. While this was initially a means of attaching canvas, he increasingly discovered it as a medium itself. When portable video technology finally emerged in the late 1960s, he had already turned to minimalism. Davidovich was one of the pioneers of the new genre of video art. The video works "Road" (1972) and "3 Mercer Street" (1975), which are also presented in the catalog offered here, are among his first experiments in the field of video art. He then turned his attention to video installations. This catalog already marks a transition in Davidovich's work. For when cable television emerged in the mid-1970s, Jaime Davidovich was one of the first artists to transcend this artistic framework. He was involved in the founding of Cable SoHo in 1976 and a year later founded the Artists Television Network, which aimed to use commercial cable television to distribute video art. Television programs were produced in which video art, early music videos, performances and interviews with artists were broadcast until 1984. (Cf. website of the Jaime Davidovich Collection at NYU: >h ttps://findin gaids.library.nyu.e du/fales/mss_155/.