Jensen gabriel (24 Ergebnisse)

Paperback. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Unknown. 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.

Trade Paperback. Zustand: Very Good - Cash. Minor rubbing and edge wear to cover, with light reader wear to pages. Still great condition. Stock photos may not look exactly like the book.

Zustand: New.

Zustand: New.

399 pp.; 16.5 x 12.1 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Issue 14 of the 'Journal of Radical Shimming' published by the Red76 collective. Texts by Matthew Stadler, Dan S. Wang, Scott Berzofsky, Mike Wolf, Sam Gould, Rich Jensen, Mark Read, Steve Lambert, Abbie Hoffman, Starhawk, David Senior, Alan Watts, Timothy Leary, Gary Snyder, Allen Ginsberg, Gabriel Mindel Saloman, Jessica Garz, Sean Dockray, Malak Helmy, Pop-Up Book Academy, Aja Rose Bond, Alexander Muir, Daniella Aiello, Gabriel Saloman, Lisa MacLoad and Sydney Hart. Includes an interview with Bernadette Houde by Courtney Dailey. Very Good. 2.5 cm. of minor bumping at upper center edge of recto carrying through to page 75, otherwise Fine. …

Paperback. Zustand: Brand New. 60 pages. 10.43x7.68x0.16 inches. In Stock.

Taschenbuch. Zustand: Neu. Neuware.

Hardback. Zustand: New. Dieter Hall portrays man thrown back on himself. Ecce Homo, behold the man-without his social attributes, often nude, in splendid isolation. Hall seeks the common denominator-metonymically called the Naked Chair-of mere existence in the images of others' (mostly male) bodies. He regards things, objects, gardens and landscapes with the same searching gaze. His minutely arranged still lifes-a glass, a flower, a chair - call to mind Bonnard and Matisse. Hall's bare chairs are recurrent silent echoes of isolation and transience, intensified by the dark shadow the AIDS epidemic cast on his life and work while living in New York. Although his works are not referential in the traditional sense, Hall reacts to the works of other artists, including painter Alice Neel's psychological realism and the work of photographers like David Armstrong and Peter Hujar. Hall was friends with Hujar and moved in the same scene-until the latter's early death from AIDS. Photography plays a key part in Hall's work - though never as an end in itself: it helps him compose his pictures. He selects details-a foot or a hand, for example-and transposes them into painterly renditions, wholly reinventing the subject portrayed in the process. The resulting works, characterized above all by their radical intimacy, tell of isolation and a deep-seated need for connection. …

344 pp.; 26.9 x 20.1 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show "4th berlin biennial for contemporary art," Berlin, Germany, March 25 - June 5, 2006. Exhibition curated and catalogue edited by Massimiliano Gioni, Maurizio Cattelan, and Ali Subotnick on behalf of the KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes. Contributions by Nancy Spector. Artists include Tomma Abts, Viktor Alimpiev, Pawel Althamer, Kai Althoff and Lutz Braun, Ulf Aminde, Micol Assaël, Roger Ballen, Thomas Bayrle, Michael Beutler, Michaël Borremans, Bouchet, Tobias Buche, Anthony Burdin, Mircea Cantor, Bruce Conner, Benjamin Cottam, Martin Creed, Oliver Croy with Oliver Elser, Roberto Cuoghi, Tacita Dean, Jeremy Deller, Berlinde De Bruyckere, Gino De Dominicis, Nathalie Djurberg, Trisha Donnelly, Marcel van Eeden, Saul Fletcher, Roland Flexner, Felix Gmelin, Aneta Grzeszykowska, Sebastian Hammwöhner / Dani Jakob / Gabriel Vormstein, Rachel Harrison, Pravdoliub Ivanov, Sergej Jensen, Dorota Jurczak, Tadeusz Kantor, Ian Kiaer, Christopher Knowles, Robert Kusmirowski, Erik van Lieshout, Klara Liden, Ján Mancuska, Mike Mandel & Larry Sultan, Mark Manders, Kris Martin, Paul McCarthy, Corey McCorkle, Michaela Meise, Matthew Monahan, Otto Mühl, Bruce Nauman, Damián Ortega, Diego Perrone, Susan Philipsz, Jorge Queiroz, Reynold Reynolds with Patrick Jolley, Ricarda Roggan, Aïda Ruilova, Anri Sala, Markus Schinwald, Michael Schmidt, Thomas Schütte, Norbert Schwontkowski, Tino Sehgal, Shirana Shahbazi, Steven Shearer, Florian Slotawa, Christiana Soulou, Jaan Toomik, Paloma Varga Weisz, Gillian Wearing, Clemens von Wedemeyer with Maya Schweizer, Andro Wekua, Cathy Wilkes, Francesca Woodman, and Thomas Zipp. "A mysterious object, somewhere between an illustrated anthology of short stories and a scrapbook preserving the experience of visiting a biennial exhibition, this book presents the works of more than sixty artists in a montage of images, mixing historical photos, newspaper clippings, and other reference materials with installation shots and photographs of art works included in the show. Not simply a textual complement to the exhibition but also an unusual combine of art works, this book is much more than just a documentation of an exhibition, it's an exhibition in book form. In spite of its classical design and hardcover binding, it is an artists' book with a truly unusual use of texts and reprints. The book will also feature sections with visual reminders and references for all of the 4th berlin biennial activities including Checkpoint Charley, Gagosian Gallery in Berlin, and the columns presented by the bb4 in Zitty magazine." -- publisher's statement. New. In publisher-issued shrink wrap. Due to large size and weight additional shipping charges will be required for international orders.…

Rücken mit minimalen Gebrauchsspuren, sonst tadellos. Softcover / Original Klappbroschur.

Hardback. Zustand: New. Dieter Hall portrays man thrown back on himself. Ecce Homo, behold the man-without his social attributes, often nude, in splendid isolation. Hall seeks the common denominator-metonymically called the Naked Chair-of mere existence in the images of others' (mostly male) bodies. He regards things, objects, gardens and landscapes with the same searching gaze. His minutely arranged still lifes-a glass, a flower, a chair - call to mind Bonnard and Matisse. Hall's bare chairs are recurrent silent echoes of isolation and transience, intensified by the dark shadow the AIDS epidemic cast on his life and work while living in New York. Although his works are not referential in the traditional sense, Hall reacts to the works of other artists, including painter Alice Neel's psychological realism and the work of photographers like David Armstrong and Peter Hujar. Hall was friends with Hujar and moved in the same scene-until the latter's early death from AIDS. Photography plays a key part in Hall's work - though never as an end in itself: it helps him compose his pictures. He selects details-a foot or a hand, for example-and transposes them into painterly renditions, wholly reinventing the subject portrayed in the process. The resulting works, characterized above all by their radical intimacy, tell of isolation and a deep-seated need for connection. …

Taschenbuch. Zustand: Neu. Neuware - William Wolf, jeune homme de 25 ans, profite de la vie de luxe qu'il a héritée de ses parents. Vivre inconsciemment entre amis, fêtes, et relations peu sérieuses, William pense avoir tout compris à la vie et être pleinement heureux. Mais lorsque ses parents décident de l'envoyer en France pour développer l'entreprise familiale, William devient une nouvelle personne, un homme respecté et ambitieux. Seulement, son arrogance est toujours présente, Wolf a ce qu'il veut. Lorsqu'il fait la rencontre de l'avocate de sa compagnie, jeune femme magnifique, professionnelle, ambitieuse et dont l'arrogance n'a d'égal que la sienne, ce dernier tombe irrévocablement sous son charme. Il y voit là un défi, et il veut le gagner à tout prix. Mais comment battre celle qui ne perd jamais ses procès Et si cette femme renfermait en réalité, bien plus que ce qu'il n'y paraît, qu'adviendrait-il de ces deux êtres passionnés À trop jouer avec le feu, on finit par s'y brûler.…

Hardback. Zustand: New. Dieter Hall portrays man thrown back on himself. Ecce Homo, behold the man-without his social attributes, often nude, in splendid isolation. Hall seeks the common denominator-metonymically called the Naked Chair-of mere existence in the images of others' (mostly male) bodies. He regards things, objects, gardens and landscapes with the same searching gaze. His minutely arranged still lifes-a glass, a flower, a chair - call to mind Bonnard and Matisse. Hall's bare chairs are recurrent silent echoes of isolation and transience, intensified by the dark shadow the AIDS epidemic cast on his life and work while living in New York. Although his works are not referential in the traditional sense, Hall reacts to the works of other artists, including painter Alice Neel's psychological realism and the work of photographers like David Armstrong and Peter Hujar. Hall was friends with Hujar and moved in the same scene-until the latter's early death from AIDS. Photography plays a key part in Hall's work - though never as an end in itself: it helps him compose his pictures. He selects details-a foot or a hand, for example-and transposes them into painterly renditions, wholly reinventing the subject portrayed in the process. The resulting works, characterized above all by their radical intimacy, tell of isolation and a deep-seated need for connection. …

Zustand: New.

Hardback. Zustand: New. Dieter Hall portrays man thrown back on himself. Ecce Homo, behold the man-without his social attributes, often nude, in splendid isolation. Hall seeks the common denominator-metonymically called the Naked Chair-of mere existence in the images of others' (mostly male) bodies. He regards things, objects, gardens and landscapes with the same searching gaze. His minutely arranged still lifes-a glass, a flower, a chair - call to mind Bonnard and Matisse. Hall's bare chairs are recurrent silent echoes of isolation and transience, intensified by the dark shadow the AIDS epidemic cast on his life and work while living in New York. Although his works are not referential in the traditional sense, Hall reacts to the works of other artists, including painter Alice Neel's psychological realism and the work of photographers like David Armstrong and Peter Hujar. Hall was friends with Hujar and moved in the same scene-until the latter's early death from AIDS. Photography plays a key part in Hall's work - though never as an end in itself: it helps him compose his pictures. He selects details-a foot or a hand, for example-and transposes them into painterly renditions, wholly reinventing the subject portrayed in the process. The resulting works, characterized above all by their radical intimacy, tell of isolation and a deep-seated need for connection. …

Hardcover. Zustand: Brand New. 240 pages. 10.00x7.00x0.55 inches. In Stock.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Französisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Hervorragend. Zustand: Hervorragend | Sprache: Französisch | Produktart: Bücher | Keine Beschreibung verfügbar.

7 vol. : [4] pp. (each); 7 vol. : 35.5 x 27.8 cm. (no. 1) ; 30.5 x 22.8 cm. (no. 2) ; 30.5 x 22.8 cm. (no. 3) ; 30.3 x 22.8 cm. (no. 4) ; 30.3 x 22.8 cm. (no. 5) ; 30.3 x 22.8 cm. (no. 6) ; 30.6 x 22.8 cm. (no. 7); black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Issues 1 - 7 of Scrap from total of 8, published in New York City and edited by Anita Ventura and Sidney Geist between 1960 - 1962. Issue One, contents include : "A Review of Sculpture this Season," by Sidney Geist ; "Report from the Club" featuring Gabriel Laderman, Neil Mallow, Wolf Kahn, Lester Johnson, Harold Cohen, Louis Finklestein, Paul Georges, Sidney Geist, Landes Lewitin, and E.A. Navaretta ; an overheard conversation betweeen Lois Dodd, Sally Hazelet, and Philip Pearlstein ; "I Confess," by Milton Resnick ; "Pollock by Robertson," by Barbara Butler ; an excerpt from "The Metamorphosis of the Gods" by André Malroux. Issue Two, contents include : a dance review of "Peripateia and Tableaux," by Landes Lewitin and Sidney Geist ; Letters to the editor from Irving Sandler and Sonia Gechtoff ; "Dear Scrap" with comments by Sally Hazelet, Mark di Suvero, Thomas B. Hess, Thomas A. Hess, Milton Resnick, James Terry, Stephen Radich, Hilton Kramer, Ad Reinhardt, R. Gordon, David Smith, and Yvonne Thomas ; "Beating the Beat" by Margaret Randall ; "Rauschenberg," by Paul Brach ; "Kanemitsu" by William McLean ; "Duchamp," by Jasper Johns ; and "Letter from India," by Milton Resnick. Issue Three, contents include : an excerpt from a panel conversation with Ad Reinhardt and Milton Resnick ; Letters to the editor from Richard Maxfield, Stanley Fisher ; "Change : Eight Lectures on the I Ching," book review by Adam Margoshes ; "The Totem," by May Swenson ; "Letter on the Maximus Poems," by James Mellow ; and "Sculpture and Other Trouble," by Sidney Geist. Issue Four, contents include : the reproduction of Peter Selz's essay on Mark Rothko published in MoMA's brochure for Rothko's 1961 exhibition along with an annotated critical response to the text by Sidney Geist. Issue Five, contents include : "Cajori," by Louis Finkelstein ; "A View of Rothko's Images," by Sidney Geist ; "Hard Put," by Margaret Randall ; "Brecht Berlin / New York," by Josephine Herbst ; "Manifestoes on the Music and Dance of 8 Clear Places," by Lucia Dlugoszewski; and letters to the editor by Katharine Kuh and David Sylvestor. Issue Six, contents include : "Yellow can be Black," by John Grillo ; "The Source (Desire)," by Mary Frank ; "Why Am I So?," by Philip Pearlstein ; "No Front-Side-Back-Side," by Tom Doyle ; "Taste of Potatoes," by Milton Resnick ; ".A Bad Habit," by Wolf Kahn ; "The Image Central," by Sonia Gechtoff ; "Catalyst for My Art," by Perle Fine ; "Like a Spider I Go," by Pat Passlof ; "I Had an Indian Nurse," by Alfred Jensen ; "m-m-m-m-MM," by Adam Margoshes ; "Brand-New & Terrific," by Alex Katz ; Includes letters to the editor and a report from the Arts Club. Issue Seven, contents include : "A Number of Things : Editorial Observations," by Sidney Geist ; "The Envious Male," by Adam Margoshes ; "A Wide-Open Image," by George Sugarman ; "Report from the Club," and letters to the editor. Very Good. Near complete set, missing Issue 8. Moderate yellowing from age to all issues. Folded in half as issued with some additional folds and occasional small tears to page edges. 2.5 cm. dog-ear to issue 4. Clean and unmarked. All issues from first printing on newsprint. …

Hardback. Zustand: New. 3.

Hardback. Zustand: New. 3.

* Mit illustriertem Titel, 6 farbigen Tafeln sowie zahlreichen (7 ganzseitigen) Textabbildungen und Vignetten nach Zeichnungen von Carl Olof Petersen. 2 Blatt, 122 Seiten, 1 Blatt. 26 x 21,5 cm. Farbig illustrierter Original-Halbleinenband (minimal fleckig, Rücken etwas knittrig). *** Klotz, Illustratoren II, 4243/33. Klotz, Autoren IV, 6706/4. Nicht bei Doderer, LKJ IV, 450 f. - Erste Ausgabe mit den schönen Illustrationen von Carl Olof Petersen, zugleich eine der ersten Buchillustrationsarbeiten Petersens (1881-1939) überhaupt. - Bindung etwas gelockert, vereinzelt gering fleckig. - Ordentliches Exemplar. …