Lewis sarah e (24 Ergebnisse)

Zustand: New. In English.

Zustand: New. In English.

Zustand: New. In English.

Zustand: New. In English.

Hardcover. Zustand: As New. First Edition. The artist Whitfield Lovell (born October 2, 1959) "is a contemporary African-American artist who is known primarily for his drawings of African-American individuals from the first half of the 20th century" and who works in or on or with pencil, oil stick, charcoal, paper, wood, and has a special interest in found objects. Fine-looking, structurally sound hardcover, little discernible wear to the glossy pictorial covers, bright interior, unmarked. Introduction by Irving Sandler, with essays by Sarah E. Lewis, Julie L. McGee, Klaus Ottmann, Kevin Quashie, and Elsa Smithgall. Director's Foreword by Dorothy Kosinski, from The Phillips Collection, Washington, D.C. Augmented with chronology, bibliography, exhibitions, collections history and with many, many score black-and-white and full-color illustrations, printed on high-gloss paper. Illustrated endpapers front and rear. 223 pp.Member, I.O.B.A., C.B.A., and adherent to the highest ethical standards. Additional postage may be required for oversize or especially heavy volumes, and for sets. …

Zustand: New. 2018. Softcover reprint of the original 1st ed. 2018. paperback. . . . . . Books ship from the US and Ireland.

Taschenbuch. Zustand: Neu. Neuware.

Paperback. Zustand: Brand New. reprint edition. 220 pages. 8.27x5.83x0.56 inches. In Stock.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - This book presents a collection of vivid, theoretically informed descriptions of flashpoints--educational moments when the implicit sociocultural knowledge carried in the body becomes a salient feature of experience. The flashpoints will ignite critical reflection and dialogue about the formation of the self, identity, and social inequality on the level of the preconscious body.…

Zustand: New.

Trade Paperbac. Zustand: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVERY GOOD TRADE PAPERBACK, CLEAN PAGES, MINOR CREASES, PROMPT SHIPPING WITH TRACKING.

Zustand: New.

Hardcover. Zustand: Brand New. 224 pages. 10.50x8.50x1.00 inches. In Stock.

Hardcover. Zustand: Brand New. 224 pages. 10.50x8.50x1.00 inches. In Stock.

Hardcover. Zustand: Brand New. 224 pages. 10.50x8.50x1.00 inches. In Stock.

Taschenbuch. Zustand: Neu. Pedagogies in the Flesh | Case Studies on the Embodiment of Sociocultural Differences in Education | Sarah Travis (u. a.) | Taschenbuch | xxv | Englisch | 2018 | Springer | EAN 9783319866604 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu. …

Soft cover. Zustand: Very Good. 1st Edition. 9" x 11" softcover book in laminated card wraps. 25pp. with color illusrations. Clean and unmarked. Mild wear to edges of covers notably at spine extremities. Catalogue published on the occasion of a 2011 exhibition of Romare Bearden's paintings at DC Moore Gallery, with an essay by Sarah E. Lewis. In overall very good condition.…

Cloth. Zustand: Near Fine. Near Fine. 230 pages with 151 illustrations in color. Still in shrink-wrap though a few small bumps to the corners and edge. Edited with text by Christopher Bedford and Katy Siegel. Interview by Christopher Bedford. Published on the occasion of the Venice Biennale May 13-November 26, 2017. Book.…

Zustand: New. In English.

Gebunden. Zustand: New.

Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - This book presents a collection of vivid, theoretically informed descriptions of flashpoints--educational moments when the implicit sociocultural knowledge carried in the body becomes a salient feature of experience. The flashpoints will ignite critical reflection and dialogue about the formation of the self, identity, and social inequality on the level of the preconscious body.…

Zustand: New. 2017. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Zustand: Brand New. 220 pages. 8.50x6.00x1.00 inches. In Stock.

12 pp.; 28 x 21.6 cm; loose leaves; black-and-white; edition size unknwon; unsigned and unnumbered; photocopy / xeroxed Exhibition brochure / checklist published in conjunction with show held May 1 - July 23, 1993. Curated by Jean-Noël Herlin, with research by Karen Bubb and Sarah Wagner. Selected artists include Jean-Noël Herlin, Karen Bubb, Sarah Wagner, Wolfgang Paalen, Tom E. Lewis, Joseph Cornell, Laurence Vail, A. Raymond Katz, Irving Kriesberg, Yves Tanguy, Piet Mondrian, Fernand Léger, Claude Bentley, David Smith, Matta, Jean Follett, Pablo Picasso, Marcel Duchamp, Robert Brownjohn, Ivan Chermayeff, Thomas Geismar, George Brecht, Jim Dine, Claes Oldenburg, Jim Davis, Elaine de Kooning, William T. Wiley, Frank Stella, Man Ray, Red Grooms, Michael Todd, Ay-o, George Ortman, Nam June Paik, Harry Soviak, Arni Hendin, Thomas Downing, Gerald Oster, Reginald Neal, Dakota Daley, Nicholas Quennell, Bela Julesz, Michael Noll, Dan Flavin, Louise Nevelson, Peter Saul, Lila Katzen, Elaine Sturtevant, Kim MacConnel, Liliana Porter, Mel Bochner, Lawrence Weiner, Eleanor Antin, Jean Dubuffet, Yoko Ono, Larry Bell, Marilyn Levine, Larry Rivers, Susan Weil, Arman, Dorothea Rockburne, Robert Rauschenberg, Robert Kushner, Lynda Benglis, Marcia Hafif, Joan Miró, Karole Armitage, Beverly Naidus, Meret Oppenheim, Ronnie Cutrone, Keith Haring, Michael Graves, Judith Shea, Gordon Matta Clark, James Lee Byars, Louise Lawler, and Izhar Patkin, and many others. Materials presented drawn largely from the Jean-Noël Herli Archive. "Exhibition invitations? I've seen a few. Any working art critic inevitably acquires an extensive knowledge of this genre of printed ephemera. Heralding gallery and museum shows, invitations flood the mailbox, crowd the desk and all too often accumulate so intractably on the kitchen counter as to seem part of the decor. You can't live with them, and until the show is over, you can't throw them out. Still, life without such art-world byproducts would be a lot more difficult. Not only do they convey the important facts -- the who, when and where -- of shows that need to be seen. They're also advertisements bent on seducing us into attendance by being clever, eye-catching or provocative -- although sometimes they nip interest in the bud. (There's probably no art lover with mailing-list credentials who hasn't held up some gallery announcement and said, "Forget it!") Invitations are style statements in a minor key, ancillary artworks of a collective sort. Designed by artists, by graphic designers, by art dealers and museum curators -- usually a combination of the above -- they are the advance guard for the real thing. Their merit is judged in the very act of reading one's mail." -- Roberta Smith, "Art Invitations As Small Scraps Of History," New York Times, May 16, 1993. Very Good. Light edge wear. Contents clean and unmarked.…