whitney david ed (11 Ergebnisse)

Hardcover with dust jacket. Folio. VG/VG. Due to this book's size, shipping will cost more than the rate quoted on some web-sites. pp.

Zustand: New. Presents a new approach to tertiary science education for the 21st century Editor(s): Ferrett, Tricia A.; Geelan, David R.; Schlegel, Whitney M.; Stewart, Joanne L. Series: Scholarship of Teaching and Learning. Num Pages: 204 pages, black & white illustrations, black & white tables. BIC Classification: JNM; JNU; PD. Category: (P) Professional & Vocational. Dimension: 227 x 158 x 13. Weight in Grams: 322. . 2013. Paperback. . . . . Books ship from the US and Ireland.

270 S., 3 Bll., 134 teils doppelblattgroße Farbtafafeln. Sehr gutes Exemplar der vorzüglichen Monographie über Fischl in erster Ausgabe / first edition, very good copy. Sprache: Englisch Gewicht in Gramm: 3000 4°. Orig.-Leinen mit Orig.-Umschlag.

Rizzoli, New York:, 1994. First published. 31 x 27 cm. Hardcover (clothbound) with damaged dustjacket. Illustrated in color and b/w throughout. 223 pages. Very good/near fine copy [Art / international artist [Buitenlandse Kunstenaars] ].

hardcover. Zustand: near fine. Eric Fischl (illustrator). Limited. Essay "Witness" by Peter Schjeldahl. 134 works reproduced, mostly in color. 270, (6) pages. Large 4to, handbound by Nancy Southworth in 3/4 tan Japanese linen, matching cloth slipcase. New York: Art in America, (1988). Limited first edition. Very faint area of discoloration on spine, else a fine copy in a fine slipcase. Limited edition of 150 copies -- this copy is un-numbered and un-signed, but still containing an original etching printed in Paris by Aldo Crommelynck. Text printed on rag paper, and with decorative handmade endpapers with embedded straw flowers.

Profusely Illustrated (illustrator). Schjeldahl, Peter. ERIC FISCHL. Edited by David Whitney. 270 pp. with 134 full-page color plates (31 pp. text). Folio, cloth. New York, Stewart, Tabori and Chang, 1988.

hardcover. Zustand: fine. Eric Fischl (illustrator). Limited. Essay "Witness" by Peter Schjeldahl. 134 works reproduced, mostly in color. 270, (6) pages. Large 4to, handbound by Nancy Southworth in 3/4 tan Japanese linen, matching cloth slipcase. New York: Art in America, (1988). Limited first edition. A fine copy in a fine slipcase, as new. Limited edition-- number 24 of 150 copies, signed by the artist on the limitation page and containing an original etching printed in Paris by Aldo Crommelynck. Text printed on rag paper, and with decorative handmade endpapers with embedded straw flowers.

Softcover. Zustand: Fine. Magazine. Cover by John Dana, Charles Moore, and Stanley Cowell. Quarto. Stapled red printed wrappers. 98pp. A bit of toning to the pages, else fine. A magazine edited by Sixties poet and radical, John Sinclair, co-founder of the White Panthers Party, and one-time manager of the band MC5. This issue of the magazine was rushed into production shortly before Sinclair was to report to jail for an earlier conviction for selling marihuana to an undercover agent. His incarceration lead to a host of protests, most notably Allen Ginsberg, who rushed the stage during The Who's Woodstock performance to plead Sinclair's case, and John Lennon, who recorded the song "John Sinclair" on his album, *Some Time in New York City*. Among the contributors are Robert Creeley, Jonathan Williams, Charles Olson, Anselm Hollo, Ernst Robert Curtius, Reiner M. Gerhardt, Ed Roberson, David Federman, Steve Jonas, Allen Van Newkirk, George Tysh, J.D. Whitney, Bill Hutton, David Sinclair, Joe Groppuso, Jim Semark, Henry Malone, Jerry Younkins, Arnold Shulsky, D. Welsh, Marshall Rosenthal, Robin Eichele, and Kenny Schooner.

fester Einband. 223 Seiten, mit Farbabbildungen, O.Lwd., Quart (ohne Schutzumschlag) guter Zustand.

Soft cover. Zustand: Very Good. Lovely little catalogue of 3 person show curated by David Hammons, this copy signed by one of three artists Ed Clark, under color reproduction of one of his paintings. Three color plates total, 76 pages, this compact catalogue serves a big slice of Black art history, positioning black abstraction as a part of the larger framework of understanding both abstraction as well as art history in general. Text in German and English. No other marks inside besides Clark's signature. No wear or damage to interior, which is bright, crisp, nearly as new. Binding is solid, sturdy, square. Covers very clean with some rubbing at a couple of the edges, one or two teeny stray scuffs including at the base where the front panel meets the spine where there is a small scuff and teeny tiny closed tear, which is hardly apparent especially in custom cut mylar. An excellent copy of this scarce catalogue with this amazing artist's signature. Signed by Author(s).

Soft cover. Zustand: Very Good. 1st Edition. Christine König Galerie, 2002. Softcover. 76 pages. Three color plates. English/German. Very good. Wear to top & bottom near spine. Light corner wear. Signed by Ed Clark. A unique exhibition curated by the artist David Hammons, Quiet as it's Kept, an exhibition featuring three painters based in New York, seeks to challenge the comforting discourse surrounding the presumed transnational identity of abstract painting. Painters ED CLARK, STANLEY WHITNEY, and DENYSE THOMASOS are all abstract artists who are also African Americans. Each one works in New York City. While none of this seems remarkable in itself, this exhibition seeks to challenge the commonplace identification the art public often makes between black artists and what might be called facile narratives surrounding "African American art." Such narratives often fail to take into account, suggests curator Hammons, the fact that there might be a unique "and hitherto little examined" approach to abstract painting that derives from the African American experience. Each of the artists in Quiet as it's Kept has spent his or her career attempting to evade the gaze of those who would police the definitions of "black" art. Clark's luminous canvases live in an environment of absolute freedom. The paintings are often created using a push broom, and carry within them not only an intimation of a reversal of status embodied in that tool, but the paintings also suggest an obscure sense of unrestricted play. Whitney creates paintings in which color, randomness, and architecture are all constituent elements. The apparently random patterning of color in his canvases recall those patterns that can sometimes be seen in the cloth and quilt making artists of the African American south. On the other hand, Thomasos is concerned with the abstract patterns that draw their dynamism from those structures that have hitherto been considered as signs of restriction, such as jails and slave transport vessels. "The identity of black culture," writes New York independent critic Geoffrey Jacques, who contributed an essay to the exhibition's catalogue, "is deeply rooted in experiment practice." That aspect of black identity, which is widely recognized in music and is beginning to be recognized in literature, has rarely been recognized in the visual arts. With this exhibition, curator Hammons seeks to sharpen a discourse that will focus attention on the experimental nature of African American visual culture as well. Signed by Author(s).