Jim linderman (9 Ergebnisse)

hardcover. Zustand: New. Brand New.

Hardcover with dust jacket. Previous owner's stamp and label on ffep. Otherwise handsome copy! Very good condition pp.

48 pp.; 29.6 x 21 cm.; glue bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held April/May 1988. Artists include John Alexander, Lorenzo Bonechi, Peter Booth, Steven Campbell, Sandro Chia, Giuseppe Gallo, Jim Gingerich, Judy Glantzman, Red Grooms, Jin Sub Han, Hans D'Hollosy, Peter Howson, Maria De La Paz Jaramillo, Earl Linderman, Jorg Madlener, Wade Miller, Hugh O'Donnell, Mimmo Paladino, Jim Peters, Miguel Rasero, Huck Snyder,Many Volz, Adrian Wiszniewski, and Joan Worth. Contents include Collector's Commentary by Susan Kasen and Robert D. Summer, a text by Donald Kuspit, and artists' biographies. Cover features image by Jim Gingerich, "Honey There Is More," 1986. Very Good. Light rubbing of covers. Contents clean and unmarked. Includes folded photocopy of "Instant collection, timeless appeal," a review of the exhibition by Steven Litt published by The News and Observer, Raleigh, NC, April 17, 1988.…

Hardcover. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Brand New. 160 pages. 13.00x10.00x0.50 inches. In Stock.

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

Hardcover. Zustand: Brand New. 160 pages. 13.00x10.00x0.50 inches. In Stock.

Zustand: New. KlappentextIn The Birth of Rock and Roll, Americana collector Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit of rock and roll in its early days--when a juke-joint with fifty patrons was a big show, a.

Buch. Zustand: Neu. Neuware - In The Birth of Rock and Roll, Americana collector Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit of rock and roll in its early days--when 'a juke-joint with fifty patrons was a big show,' as Linderman writes in his introduction. 'A church with fifty congregants was a full house. The annual square dance at the town hall, a rent party, a fish-fry, the honky-tonk piano in the whore house, the union meeting . There was no real money in it. A performer was lucky to be fed, get drunk and get laid.' The photographs have little to do with the conventional iconography of the birth of rock and roll: conspicuously absent are pictures of young white men in Memphis, poodle skirts, Alan Freed and Bill Haley's Brylcream. These photographs instead document and celebrate the pure but indefinable essence of rocking. Ordinary, anonymous men, women and children--some white, some black--are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there was an urge to make acoustic or electric music--whether to help at a rent party, busk in front of a crowd or testify in the name of Jesus--there was an uncredited photographer there to snap an image, and these are the photographs that comprise Linderman's fascinating narrative.…