Eyestorm (10 Ergebnisse)

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Hardcover. Zustand: Very good. Hardcover. 95pp. Lightly rubbed, else very good.

hardcover. Zustand: Very Good. Most of our very good books have only minor imperfections such as shelf wear consistent with a new book that's sat on a bookshop shelf for a year or two. Occasionally we may miss other minor imperfections as we have to grade books at speed. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

a limited edition book, 26 x 26 cm which contains names of the eyestorm artists whose work will be available through the division, embossed on white pages. Cloth, fine copy, with bookplate and press release announcing projecyt and book.

Couverture rigide. Zustand: Bon état. Edition originale. In-4 relié 31,2 cm sur 28,5. 223 pages. Bon état d'occasion. Introduction : The Theater of Illusion" by Hans Belting. First edition. 96 ph. b&w in-4°.

Couverture rigide. Zustand: Très bon. NY & London, offset n&b, relié, couverture rigide dans fourreau cartonné, 224 p. 30.48 x 27.94 cm.

Soft cover. Zustand: Near Fine. Near Fine. 1st Edition. First edition, first printing. Signed "Sugimoto" in silver marker on the title page by Sugimoto. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine in Near Fine dust jacket (faint creasing to lower right corner, affecting the dust jacket, wrappers and pages; light wear to top edge of jacket flaps; rear corners slightly blunted; light surface wear). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing." Signed by Author.…

Soft cover. Zustand: Near Fine. Near Fine. 1st Edition. First edition, first printing. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine (two very light 1/2 to 1-inch creases and a 1/2-inch linear indentation to the front cover (these imperfections are only visible in raking light), and a light bump to the lower left rear corner, not affecting pages), in Near Fine dust jacket (slight surface wear and slight toning or aging to the interior, mostly along the top edge; light wear to the extremities). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.".…

Soft cover. Zustand: Near Fine. Near Fine. 1st Edition. First edition, first printing. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine (a faint 3-inch crease to the lower left corner of the rear cover and a stray linear abrasion on the rear cover, light wear to the extremities), in Near Fine dust jacket (damp stain at heel of spine, 1/8-inch puncture to spine, slight surface wear and foxing to the interior, mostly along the top edge, light wear to the extremities and some light soiling, mostly on the rear panel). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.".…

Zustand: As New. 1st Edition. An original silver dye bleach print (dye destruction print, Ilfochrome, formerly Cibachrome) from an edition of 100, stamp-signed and numbered (this being #72/100) in black ink on verso by Derges. Image size is 30 x 10-5/8 inches; paper size is 31-5/8 x 12 inches. This edition was issued by the artist for eyestorm. A Certificate of Authenticity (from eyestorm, UK) will be provided with the print. As New. The print is in flawless condition in its original packaging. Signed by Author.…