James ulmer (14 Ergebnisse)

Zustand: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

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

Zustand: Very Good. 1st. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

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.

Soft Cover. Zustand: Very Good.

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

Paperback. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVery good. Little creased. Film.

Zustand: Good. Edge/corner wear, sun toning around edges.

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

Taschenbuch. Zustand: Sehr gut. Gebraucht - Sehr gut SG - leichte Beschädigungen oder Verschmutzungen, ungelesenes Mängelexemplar, gestempelt, Versand Büchersendung - Beschaffungsanalyse, Absatzplanung, Kundenorientierung, Markenpflege der Kunstmarkt verändert sich so rasant wie nie zuvor. Für Kunstwerke erzielte Preise bestimmen deren Einordnung in den kunstgeschichtlichen Kanon. Auktionshäuser haben sich neben Kunstmessen, Galerien und Kunsthandel als dominante Distributionsform etabliert. Dabei gleicht die rituelle Dramaturgie der Auktion bis heute einem archaischen Wettstreit: Sie verschlägt Mitwirkenden die Sprache und zieht Unbeteiligte in ihren Bann. Im Zentrum steht der Auktionator, dessen Art des Auftritts zunehmend den Zuschlag bestimmt. Anhand der Porträts von Auktionatoren, darunter auch eine Frau, erzählt der Band die Geschichte des Kunstauktionswesens. Entscheidende Ereignisse an Schauplätzen wie New York, Paris, Zürich, Berlin, Stuttgart oder Pompeji werden lebendig und zeigen, wie der Auktionator aus dem Schatten gesichtsloser Dienstleistung als Star ins Rampenlicht tritt.…

Taschenbuch. Zustand: Neu. Neuware - There are moments when our lives are darker, more mysterious, and more terrifying than our normal daylight consciousness teaches us to expect.This is the premise behind the short stories collected in this new volume. These immaculately constructed tales immerse the reader in a familiar reality and then maneuver him quietly, step by step, into a nightmare. From the glimpse of a neighbor moving behind a lighted window at night to an encounter with a silent stranger on a deserted country road, the stories presented here take us from the world we know to the shadowy one that lies beyond.James Ulmer's expert management of narrative pacing in The Highway That Leads Beyond the World brings all his tales to a satisfyingly grim conclusion.…

Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. First Edition. Ann Arbor, MI / Berkeley, CA: University of Michigan Museum of Art / University of California Press, 2005. First Edition with full number line. Quarto (31cm); publisher's boards in pictorial dust jacket; 176pp.; full color illus. throughout. Small bump at top edge of rear board, else a Near Fine example. Inscribed and signed on half title page, "To Betty / w/ [heart] / Betye Saar." Splendid exhibition catalog for this solo show of the late Black artist Betye Saar (1926-2026), best known for her assemblage and installation art -- "I'll Bend But I Will Not Break": a chained ironing board superimposed with a 19th century illustration of a slave ship; or "The Band at The Libya," a photo of a band performing at The Libya Harlem restaurant affixed to an old violin. Signed.…

Encuadernación de tapa blanda. Zustand: Bien. Zustand des Schutzumschlags: Bien. Essays "American Myths," J. Hoberman on Lost Las Vegas; "Books: Larissa MacFarguhar on Robert Woolley's 'Going Once,'" by Larissa MacFarquhar; "Books: Martha Frankel on Norman Mailer's 'Portrait of Picasso as a Young Man,'" by Martha Frankel; "Books: Peter Plagens on Christopher Knight's 'Last Chance for Eden,'" by Peter Plagens; "Books: J. Hills Miller on W. J. T. Mitchell's 'Picture Theory,'" by J. Hillis Miller; "Preview: Daniel Birnbaum talks with the Louisiana's Lars Nittve"; "Letter from London," by Louisa Buck; "Martin Maloney on the Turner Prize," by Martin Maloney; "James Hall on 'Brilliant! New Art from London,'" by James Hall; "Gadget Love: Brian D'Amato on Cybersalons," by Brian D'Amato; "Real Life Rock: Jeff Weinstein's Top Ten," by Jeff Weinstein; "Old Softies: Claes Oldenburg in Retrospect," by Jeff Weinstein; "Solitary Refinement: Marilyn Minter's 'Coral Ridge Towers,'" by Bruce Hainley; "The Subject in Question: Richard Shiff reviews 'Howard Hodgkin: Paintings 1975-1995,'" by Richard Shiff; "The Subject in Question," A.M. Homes Talks with Howard Hodgkin; "Theory on TV: Gadget Goes to Florida," Laurence A. Rickels talks with Gregory Ulmer; "Joan Mitchell: Les Bluets," by Lydia Davis; "Olivier Zahm's Hot Shots," fashion by Hussein Chalayan, photographs by Mark Borthwick; "Openings: Alex Bag," by Bruce Hainley. Reviews by Ernest Pascucci, David Frankel, Barry Schwabsky, Mark Van de Walle, Marek Bartelik, Donald Kuspit, Keith Seward, Thomas McEvilley, Linda Yablonsky, Ingrid Schaffner, Nico Israel, Justin Spring, Tom Moody, John Ash, RoseLee Goldberg, Francine Koslow Miller, David Carrier, James Yood, Lisa Anne Auerbach, Laura U. Marks, John K. Grande, Yishai Jusidman, Menene Gras Balaguer, Massimo Carboni, Giorgio Verzotti, Jérôme Sans, Miriam Rosen, Christian Kravagna, Noemi Smolik, Yilmaz Dziewior, and Jean Fisher. Cover: Alex Bag.…

Draft script for the 1960 film, seen here under the working title "The Invisible Intruder." Annotations in manuscript pencil on the front wrapper, noting filming dates and location, and the film's release title. With a cast list and 14-page shooting schedule bound in before the script, and a secondary 14-page shooting schedule laid in. A crazed former Army major forces a scientist to perfect an invisibility machine, with the eventual aim of taking over the world using invisible soldiers. The final feature film appearance of Marguerite Chapman, and one of two science fiction films shot back-to-back in Dallas by legendary Poverty Row director Edgar G. Ulmer (the other being "Behind the Time Barrier," also released in 1960). Pink titled wrappers, dated March 25, 1959. Title page present, dated March 24, 1959, noted as production No. 592, with credits for Ulmer and screenwriter Jack Lewis. 105 leaves, with last page of text numbered 104. Mimeograph duplication, rectos only. Pages Near Fine, wrapper about Near Fine, bound with two gold brads.…