kidner michael (16 Ergebnisse)

Zustand: Very Good. First Edition. VG : in very good condition without dust jacket. Rear cover lightly marked. 200mm x 220mm (8" x 9"). 403pp. B/w and colour illustrations from the exhibition. From the 4 November 2 December 1984 exhibition. Illustrated laminated card cover.

Soft cover. Zustand: Fine. 1500 copies printed. Catalog of an exhibition held at Flowers East, London, in 2003. Essays by Stephen Bann and Irving Sandler. Description: 31 unnumbered pages : colour illustrations, portrait ; 23 cm. comes with invitation to Private View & gallery leaflets.

Paperback. Zustand: Very Good. 8 pages, 20 catalogue entries, 3 illustrations. A Very Good copy.

First edition, first printing. Fine paperback exhibition catalogue. Colour illustrations.

Paperback. Zustand: Near fine in wraps. First Edition. 20 x 21cm 56pp near fine paperback exhibition catalogue, some minor internal foxing. With an essay by Stephen Bann on Michael Kidner together with colour plus black and white reproductions.

Zustand: Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,300grams, ISBN:0728704331.

(8), 28pp. Tall 8vo. Wraps.

Zustand: Très bon. Nos envois se font avec suivi, pour tout problème n'hésitez pas à nous contacter pour trouver une solution.

Paperback. Zustand: Good in wraps. 20 x 22cm 56pp good paperback catalogue with colour plus black and white reproductions, produced for an exhibition at the Serpentine Gallery 4 November-2 December, 1984. Michael James Kidner RA was a British op artist. Active from mid-1960s, Kidner was an early exponent of the genre. Through his interest in mathematics, he was part of the Constructivism movement and chaos and wave theories influence his work. Comes with a typescript: 'Michael Kidner - a commentary on three works,' by Peter Brades plus a fold-out prospectus 43 x 59cm detailing works in black and white by Michael Kidner, together with biographical notes.

SOFTCOVER. Zustand: As New. 1st Edition. Square Quarto size (4to) in silvered stiff card self wrappers, 92pp, plates etc. Rubber in sculpture. Dual text in English and German . [CONDITION: An extremely well preserved AS NEW copy ] . . . We always ship in STRONG PROTECTIVE CARD PARCELS.

(8), 26pp. Tall 8vo. Wraps. Signed and numbered in an edition of 30 copies by the author on the inner front cover.

(18)ff. 17 plates, printed on card stock. Oblong 4to. Acetate self-wraps., secured with plastic strip. Presentation copy, inscribed in red on the first leaf to Hans Joachim Beyer.

Hardcover. Zustand: Fine. Book. 421 x 303mm. A complete set of six volumes (1988-1991) of this richly illustrated, portfolio periodical with each issue's title letterpress printed on the front cover, together with different coloured end papers. The colophon is printed in a grey, red and black constructivist design on white stock across all volumes. Each volume was published in a limited edition of one hundred and fifty copies, except for Number 2, which was produced in an edition of 120 numbered copies, and Number 3 is not numbered. Blank Page was a biannual portfolio publication, designed and edited by Philip Dobree, with Adrian Self acting as literary editor. It is notable for its display of original works of pure abstraction (many signed and numbered), with critical texts interspersed throughout by significant theorists, writers and designers - these essays have been designed with a strict red and black constructivist aesthetic in mind, continuing the graphic style that unites all volumes. For example, in Volume 4, a cut-out black and white image by Douglas Allsop has been embedded with Geoff Bennington's text, "Not One". Presented as original multiples, the works featured include: lithographs; screen prints; relief prints; woodcuts; collages, etc. Volume 6, the final publication, is particularly rich in its gathering of many leading practitioners of pure abstraction, such as Charles Biederman, Cesar Domela, Anthony Hill, Michael Kidner, Francois Morellet and George Rickey. Taken individually, and as a collective series, Blank Page provides an impressive and extensive survey of the plastic arts and European constructivist design made during the period of its publication. Each portfolio performs like a mini, self-contained exhibition, with contributions by: Number One (unnumbered on cover, gold on green): Selima Hill, Michael Symmons Roberts, David Powell, Alan Bold, Patricia Conolly, Nicholas Rawson, A. R. Lamb, Norman MacAffee, Douglas Allsop, Matthew Tyson, Teal Trigs, Francesca Lowery, Childe Roland, Volker Strater, Matteo Adinolfi, Marco Bettoni, and Josephine Pryde. Number Two (red gilt on black): Jean Jacques Bauweraerts, Andrej Dluzniewski, Dre Devens, Ernest Edmonds, Heinz Gappmayr, Heinz Gruchot, Jean Pierre Husquinet, Michel Jouet, Fre Ligen, Jean Pierre Maury, Peter Meyer, Martine Meunier, Manfred Mohr, Tadeusz Myslowski, Nausica Pastra, Sigurd Rompza, Stefan Themerson, Dirk Verhaegen, and Steven Wheeler. Number Three (blue on light grey) : Juan Agudelo, Nubia Arcia, Bosco Centeno, Jonny Chavarria, Elvis Chavarria, Ivan Guevara, Donald Guevara, Pedro Pablo Meneses, Felipe Pena, Olivia Silva, Charles Bezie, John Carter, Gottfried Honneger, James Juszczyk, Claude Pasquer, Yves Popet, Nico W. Pot, Perry Roberts, David Saunders, Francisco Soto Mesa, Jaak Vuylsteke, and Elizabeth Willmoth. Number Four (black on brown): Andrew Benjamin, Geoff Bennington, Jean-Francois Lyotard, Stephen Melville, Timothy Murray, Peter Osborne, Douglas Allsop, Richard Bell, Marian Bruce, Tam Giles, John Goodyear, Rity Jansen Heijtmeijer, James Hugonin, Ray Masters, Dora Maurer, David Rubello, Albert Rubens, Clifford Singer, G. R. Thomson, Ian Tyson, and Opy Zouni. Number Five (red on orange): Dietrich Mahlow, Mirella Bentivolgio, Peter Downsborough, Heinz Gappmayer, Pierre Garnier, Ilse Garnier, Bohumila Grogerova, Josef Hirsal, Wilfred Huet, Angelika Janz, Arrigo Lora- Totino, Ann Noel, Mari Orensanz, Andrzej Partum, Jadwiga Przbylak & Janusz Bakowsky, Eino Ruutsalo, Takahashi Shohachiro, Yves de Smet, Grzegorz Sztabinski, Bernar Villiers, and Emmett Williams. Number Six (yellow on red): Stephen Bann, Andrew Benjamin, Andrew Wilson, Marcel Baugniet, Charles Biederman, Cesar Domela, Marcel Floris, Anthony Hill, Gottfried Honegger, Michael Kidner, Max Mahlmann, Francois Morellet, Aurelie NemNemours, Gudrun Piper, George Rickey, Michel Seuphor, and Anton Stankowski.

Broschiert. Zustand: Sehr gut. 92 Seiten, zahlr. Ill., 24 cm Zustand: sehr gut bis neuwertig; h7036 Wenn das Buch einen Schutzumschlag hat, ist das ausdrücklich erwähnt. Rechnung mit ausgewiesener Mwst. Sprache: Deutsch Gewicht in Gramm: 405.

Ensemble including 6 original prints and 2 facsimile notebooks, in an elaborate wood and perspex case. Contents as follows:Title/colophon leaf. Prints: 3 photo etchings and 3 continuous tone lithographs, each signed and numbered in pencil by the artist (most on the verso), loose as issued within individual colored paper folders. Sheet size: 432 x 338 mm. (ca. 17 x 13 1/4 inches). Facsimiles: Continuity Book: 1f., 28 plates (partly printed on translucent vellum). 4to. Wraps., wire-bound. Signed by the artist under front cover. Note Book: (72)pp. Facsimile of the artist's manuscript notes. Lrg. 8vo. Wraps., wire-bound. Signed by the artist under front cover. Case: polished plywood, with interior compartments, closed by a sliding plexiglass cover. Folio. One of 35 Artist Proof copies, signed and numbered by Kidner in the colophon, from the edition of 350 in all, designed in collaboration with the artist and produced by Jack Shirreff, 107 Workshop. Presentation copy, inscribed by the artist to Hans Joachim Beyer on the title/colophon leaf.

Zustand: Good. A production in three parts by this 'system artist', contained in a wooden box with perspex cover. The first part, a 'Practical', is an example of a home-made computer used to generate the images which follow (made from wood, perspex, and an elastic membrane). The second is made up of three signed etchings and three signed lithos. The third consists of two spiral note books: 1) a 54 pp Continuity Book, 25 x 21 cm and 2) a 72 pp facsimile of the artist's Note Book, 20 x 17 cm - 300 signed copes, 40 proofs - the whole measures 46 x 36 x 7cm.Kidner's first solo exhibition was held at St Hilda's college, Oxford in 1959 where he showed his After Image paintings. However it was not until 1965 that he became recognised as a pioneer of Op Art following the publicity surrounding the exhibition called The Responsive Eye organised by William Seitz at the Museum of Modern Art in New York. Both Kidner and Bridget Riley's work were included. The importance of Op Art in the canon of Western art history is well-established. Artworks which explored optical reception had been created since earlier in the century, though they were usually experiments and three-dimensional work. It was Kidner's generation which made optics the focus of painting and Kidner himself who can be said to have produced the first Op Art paintings in colour. Without losing this rigorous, intellectual approach, Kidner manages to make his work resonate emotionally. Throughout his life, he retained an interest in unpredictable world events that provoked unplanned elements within his work but he somehow managed to intimate an underlying order through his use of form and colour. He survived to see a major show of his work from the 1960s, 'Dreams of the World Order' at the Royal Academy in September 2009. Solo exhibitions of Kidner's work include Serpentine Gallery; Grabowski Gallery; Victoria Art Gallery, Bath; Arnolfini Gallery and Royal West of England Academy, Bristol; Henry Moore Institute, Leeds; Galerie Hubert Winter, Vienna; Betty Parsons, New York; Museum of Contemporary Art, Poland; and exhibitions in Rio de Janeiro, Paris, Stockholm, Helsinki and Budapest. His papers and archive were gifted to the Tate in 2010. Kidner has work in numerous public collections, including Tate; V&A; Arts Council; Government Art Collection; Contemporary Arts Society; Henry Moore Sculpture Trust; New College, Oxford; Southampton City Art Gallery; Walker Gallery, Liverpool; Gulbenkian Foundation; Sintra Museum of Modern Art, Portugal; Stuyvesant Foundation; Poznan Museum, Poland; Malmo Konsthall, Sweden; Museum of Modern Art, New York; and National Gallery of Australia.