peter geismar (10 Ergebnisse)

Zustand: Good. Good condition. (frantz fanon, 1925-1961, biographies ) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included.

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

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First Edition. New York: The Dial Press, 1971. First edition, first printing, 1971. Illustrated with eight full pages black and white plates. Red heavy leather-look cloth with heavy black spine lettering, 214 pages with index, color print-designed dustjacket. The book is in very good condition, with a mildly rubbed top edge, hardly any additional edgewear, sound text block, good hinges, clean pages with no names or other markings. The mylar protected dustjacket is not priceclipped and is also in very good condition with a very mildly rubbed spine panel. . First Edition. Hard Cover. Very Good/Very Good. 8vo - over 7¾" - 9¾" tall.

20x13. 198 pgs. Fotos. (S4587).

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First edition. Octavo. Fine in fine dust jacket. Neat owner name, else fine in fine dust jacket.

Encuadernación de tapa blanda. Zustand: Muy bien. Librería Aves Del Paraíso Descripción del libro: -Título: Frantz Fanon Y La Revolución Anticolonial -Autor: Peter Geismar, Peter Worsley y Colletti Pischel -Editorial: Ediciones Del Siglo -Lugar y Año: Buenos Aires 1970 -Encuadernación: Rustica -Páginas: 120 -Estado General: Muy Bueno -Traducción: Juan Gelman y Miguel Camperchioli -Medidas: 19x12cm -Peso: 95grs -Idioma: Español -Detalles: Mínimos subrayados con Lapicera. Todos nuestros artículos son revisados antes de ser publicados. LAS IMÁGENES DE NUESTRAS PUBLICACIONES SON ORIGINALES DE NUESTROS ARTÍCULOS.

Zustand: leido. 1ª Ed. rustica. editorial con cubierta ilustrada. 120.

Encuadernación de tapa blanda. Zustand: Bueno. Portada, 120 páginas. Contenido: Frantz Fanon: evolución de un revolucionario. - La teoría revolucionaria de Frantz Fanon. - "Fanonismo" y cuestión colonial. - El Fanon que conocí, por Simone de Beauvoir.29-1.

99 pp.; 16.5 x 25.1 cm.; screw bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Deluxe designed book featuring the intersection of Bauhaus design with Knoll products. Design of book attempts to mimic "modern," industrial books with high design elements of fancy papers, various printing methods, and binding using two very large screws and bolts. Text by Peter Blake. Artists and designers include Paul Aferiat, Marc Alessandri, Sergio Asti, Enrico Baleri, Jhane Barnes, Ayse Birsel, Cini Boeri, Vincent Cafiero, Ivan Chermayeff, Niels Diffrient, Dale Fahnstrom, Emanuela Frattini, Gianfranco Frattini, Tom Geismar, Paul Haigh, Bruce Hannah, Robert & Trix Haussmann, Dragomir Ivicevic, Lawrence Laske, Ross Lovegrove, Roberto Lucci, Paolo Orlandini, Carl Magnusson, Michael McCoy, Richard Meier, Stephen Peart, Don Pettit, Charles Pollock, Robert Reuter, Carlos Riart, Joseph Ricchio, John Rizzi, Brooks Rorke, Richard Schultz, Denise Scott Brown, Hazel Siegel, Peter Stamberg, Stanley Tigerman, Timothy Van Campen, Robert Venturi, Vignelli Designs, Marco Zanini, and Otto Zapf. Parallel texts in English, French, Italian, German, and Spanish. Fine. Covers and contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.

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.