halifax nova scotia press of the nova scotia college of art and design (62 Ergebnisse)

1. Aufl. 8 unnum. S., 227 num. Bl., IX-LXIII (illustr.), 2 unnum. Bl. Erste Ausgabe/First edition. -Der Einband leicht berieben, die Kanten minimal beschabt und die unteren Ecken minimal bestoßen. Innen alle Seiten und die Abb.-Tafeln sehr sauber! -In Englisch! -Achtung: wegen des Gewichts (über 1000 g) und/oder des Verpackungsmaßes ist ein Versand als Päckchen (ggf. versichert) oder als Paket erforderlich. Für die notwendige Kostenanpassung werden Sie informiert und um Akzeptanz gebeten. Anm. zur Rechnungstellung: Die Buchpreise beinhalten die reduzierte MwSt von 7 %, diese wird gesondert ausgewiesen // Rechnungen für Kunstgegenstände wie Grafiken, Gemälde weisen gem. § 25a Abs.3 Satz 1 UStG (Differenzbesteuerung) bzw. § 25a Abs.3 Satz 2 UStG (Margenbesteuerung) keine MwSt aus (brutto = netto). Sprache: Englisch Gewicht in Gramm: 1350 28x19 cm. Illustr. OEngl.-Kart.

227 S. + LXIII S. Kartoniert mit Umschlagklappen. 4°. Sauberes Exemplar ohne Stempel und Anstreichungen. Zahlreiche Abbildungen und Tafeln. Ecken und Kanten leicht berieben und bestoßen. Sprache: eng.

Original-kartoniert. Zustand: Sehr gut. Zustand des Schutzumschlags: Gut. 4 Original-kartoniert en 226 pp. + LXVI pp. Schutzumschlag: Gut.

Zustand: Gut. Erstauflage / First Edition 127 Seiten / Pages OBrosch. m. OSch. / Origional Softcover binding with dustjacket Einband mit Lichtschatten. / Binding with some bleaching. In Englisch u. Deutsch.- Leichte Gbrsp. - Mit zahlr. Abb.

Soft cover. Zustand: Near Fine. Conde, Carole; Beveridge, Karl (illustrator). 9" x 10", 159pp incl. front matter. Perfect bound book in matte laminated printed card stock cover with flaps. Light shelf wear to cover. A bit of shelf soiling to bottom edge of book block. Binding is square and tight. Pages are clean and bright and unmarked.

Softcover. Zustand: Good. 126 p. 28 cm. B&w illustrations, some of which fold out. White card covers with attached orange dustjacket. Jacket has discolouration and some marks. Text in English and German.

Softcover with dust jacket. Zustand: Gut. 12, 488 p., ill. Good. Cover shows mild wear. Clean pages. Sprache: Deutsch Gewicht in Gramm: 1650.

Paperback. Zustand: Good+. B&W Photographs; Square Small 4to 9" - 11" tall; 430 pages; 2006 The Press of the Nova Scotia College of Art and Design. Stout oversize paperback in pictorial french fold covers. Snugly bound copy has light dust spotting to the top edge and some light handling soil to the front edge. Some few instances oflight underlining and highlighting to a small number ofpages. Solid copy. Illustrated with b&w photos. G++ or better.

Softcover. First Edition. Quarto, 124 pages. In Very Good minus condition with a Good dust jacket. Paperback binding. Spine off-white with black lettering. Dust jacket shows light age toning. Exterior has mild wear including mild age toning and minor edge wear. Covers have very light wear including faint sunning to the spine. Text block has light wear with slight age toning to the edges. Some underlines and marginalia interiorly. Profusely illustrated. First edition. Text in German and English. NOTE: Shelved in Locked Annex Area, Netdesk Column QD (ND-QD). 1387814. FP New Rockville Stock.

1. ed. 4°. 127 S. mit vielen Abbildungen. OBrosch., OU. Text in Englisch und Deutsch. Sprache: deutsch.

181pp. Prof. illus. 4to. Wraps. D.j.

240 pp.; 28 x 22 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Originally published in 1975, this collection of Donald Judd's writings is a sought-after classic. His uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 60s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism." Very Good. Light dusting of covers with 2.5 cm. and 6 mm. light soiling to recto and very light bumping of bottom edge of publication. 3 mm. tear to top edge of page 163, contents otherwise clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

First edition. Softcover. 153 pages. A look at this German artist's work with an essay by Jack Burnham and another by Howard S. Becker and John Walton. A near fine copy in wrappers in a very good plus dust jacket that is lightly rubbed and with a few small edge tears and other minor wear.

First edition. Softcover. 338 pages. Simultaneous paperback issue. A look at this important American dancer and filmmaker. Features text and numerous black and white images. A clean near fine copy in photo-illustrated wrappers in a very good plus dust jacket with some tears to the top of the spine and some other light wear.

Englische Broschur. Zustand: Gut. Erstausgabe. xxvii, 227 Seiten mit einigen Abbildungen. im Text und LXIII (4) Seiten mit 47 Tafeln mit Abbildungen, Skizzen, Faksimiles. 27,7 x 19 cm. Guter Zustand. Buchkanten etwas berieben. Einbandrücken leicht fleckig. - Claes Oldenburg (* 28. Januar 1929 in Stockholm als Claes Thure Oldenburg) gehört neben Andy Warhol und Roy Lichtenstein zu den bedeutendsten Vertretern der amerikanischen Pop Art. Besonders bekannt wurde er durch Skulpturen, die aus einfachen Werkstoffen hergestellt sind oder Alltagsgegenstände darstellen. Oldenburg arbeitete seit 1976 mit der niederländischen Künstlerin Coosje van Bruggen (19422009) zusammen; sie waren seit 1977 verheiratet. Leben und Werk: Claes Oldenburg wurde in Stockholm als Sohn eines schwedischen Diplomaten geboren. Von 1930 bis 1933 wuchs er in New York und in Rye, New York, auf, danach bis 1936 in Oslo, von 1936 bis 1946 in Chicago, wo Oldenburg seinen Abschluss an der Latin School of Chicago machte. 1946 bis 1950 studierte er an der Yale Universität in New Haven Kunst und englische Literatur und belegte bis 1954 einen Kurs am Art Institute in Chicago. Während seiner Studienzeit arbeitete er als Journalist und Grafiker. 1953 folgte seine erste Ausstellung mit satirischen Zeichnungen. Seine ersten Bilder waren stark vom Abstrakten Expressionismus geprägt, blieben aber weitgehend darstellend. 1956 zog er nach New York City und machte dort Bekanntschaft mit Happening-Künstlern wie Allan Kaprow, Jim Dine, Red Grooms, Lucas Samaras und George Segal, die seine Begeisterung für Collagen und Objekte beeinflussten. Ab 1958 fertigte Oldenburg Assemblagen aus Pappmaché und diversen Abfallprodukten an (sehr häufig mit einer Auswahl verschiedener Stoffe), die er in einer grellen Farbigkeit und Verfremdung verarbeitete. 1958 und 1959 entstanden Zeichnungen zum Thema The Street und die ersten Plastiken, 1963 die ersten Soft-Sculptures und Vinyl-Plastiken. Ab 1965 konzentrierte sich Claes Oldenburg auf Kolossalobjekte, in denen er Alltagsgegenstände durch Monumentalisierung verfremdete, und die ersten Entwürfe für Giant Objects". Gemeinsam mit Jim Dine, Marc Ratliff und Tom Wesselmann gründete er 1959 die Judson Gallery der Judson Memorial Church. 1982 fertigte er etwa eine 12 Meter hohe Spitzhacke für die Documenta 7 in Kassel. Bekannt ist auch die mit Coosje van Bruggen gemeinsam entwickelte Skulptur Inverted Collar and Tie in Frankfurt am Main am Fuß des 208 Meter hohen Wolkenkratzers Westendstraße 1. Die mit mehr als zehn Metern Höhe stark überdimensionierte nach oben flatternde" Krawatte stellt eine Persiflage auf die im Hochhaus arbeitenden, immer korrekt gekleideten Büromenschen dar. Oldenburg lebt in New York. Das Kölner Museum Ludwig zeigte 2012 möglicherweise zum letzten Mal das Frühwerk von Oldenburg. Die Materialien haben das Altern nicht unbeschadet überdauert und sind nicht mehr ohne Weiteres transportfähig. . Aus: wikipedia-Claes_Oldenburg Sprache: Englisch Gewicht in Gramm: 1300.

Soft cover. Zustand: VG+. 161 pages, with 21 pages of black and white photographs and reproductions. Red and white covers with black titles, edges very lightly worn, a few light scratches and scuffs, spine very lightly faded, text is clean, binding is tight, VG+. Book.

134 pp.; 29.2 x 22.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Twelve transcribed dialogues between Carl Andre and Hollis Frampton. Edited and annotated by Benjamin H.D. Buchloh. Appendix photographs by Hollis Frampton of works by Carl Andre 1958 - 1963. Includes index, autobiographies and bibliographies. "Except to delete two sentences of personal reference, I have not altered my share of these dialogues. That is not to say that my opinions have remained unchanged. Quite the opposite is true. In fact most of my opinions have just dropped away over the course of the years. It is a good thing, in principle, to declare your interests and these were the interests of Carl Andre at age 24. Friedel Dzubas once remarked that as he grew older he became more demanding and more tolerant at the same time. I think the same is happening to me." -- Carl Andre, New York, 1979. Very Good. 3 cm. of bumping to bottom left corner of publication, light rubbing of dust jacket edges, light dusting of covers, and light yellowing of pages. Contents clean and unmarked.

134 pp.; 29.2 x 22.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Twelve transcribed dialogues between Carl Andre and Hollis Frampton. Edited and annotated by Benjamin H.D. Buchloh. Appendix photographs by Hollis Frampton of works by Carl Andre 1958 - 1963. Includes index, autobiographies and bibliographies. "Except to delete two sentences of personal reference, I have not altered my share of these dialogues. That is not to say that my opinions have remained unchanged. Quite the opposite is true. In fact most of my opinions have just dropped away over the course of the years. It is a good thing, in principle, to declare your interests and these were the interests of Carl Andre at age 24. Friedel Dzubas once remarked that as he grew older he became more demanding and more tolerant at the same time. I think the same is happening to me." -- Carl Andre, New York, 1979. Very Good. Rubbing and bumping of cover edges including a 1 cm. tear to bottom edge of verso. Light dust soiling of covers. Light yellowing of pages, contents otherwise clean and unmarked.

Paperback. Zustand: Very good. Paperback. First Edition. Bookseller ticket on inside of rear wrap, else a fine paperback in a near fine, just slightly darkened jacket. Nicer than usual copy. Writings on music and composition from one of the twentieth century greats of minimalism and a pioneer in the use of tape loops (now ubiquitous via sampling) to explore musical concepts, most notably in this cataloger's experience with the piece "Come Out".

103 pp.; 20.5 x 28 cm.; sewn bound; duotone; edition size unknown; unsigned and unnumbered; offset-printed "In this book photographer and critic Martha Rosler braids together three classic, newly relevant pieces tracing the ways in which photography's aesthetic conventions and social practices fail or succeed in generating socially meaningful work--work that not only takes into account the political conditions within which it was produced and assumes social and political responsibility but also activates the viewer. The title three works are The Restoration of High Culture in Chile, a 1972 short fiction piece-cum-essay that examines the degrees of political anesthesia and corruption a successful adaptation to high culture implies, The Bowery in two inadequate descriptive systems, a 1974 photo work in which contemporary urban photography's capacity to continue documentary photography's historical work is questioned, and in, around, and afterthoughts, a 1981 critical essay exploring these questions more systematically and attempting to develop criteria to define contemporary photographic activities as meaningful social practice." -- publisher's statement New / Fine. In publisher's unopened shrink-wrap.

229 pp.; 27.8 x 21.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed First edition printing of the collected writings of Donald Judd. Judd's uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 1960s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism." Good. Dusting and discoloration of covers, with concentrated discoloration / sunning of spine. Rubbing of cover edges and corners; 3.5 cm., 3 cm., 3.8 cm., and 3 mm. of soiling to covers. 2 cm. crease to top right corner and light bumping of bottom right corner of recto. Contents clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

Soft cover. Zustand: Good. 1st Edition. Halifax/New York: NYU Press/ Nova Scotia College of Art and Design, 1975. Octavo. Soft cover. First edition. Pictorial wraps. Spine creased in spots but binding holding strong. A nice copy in close to very good condition.

229 pp.; 27.8 x 21.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed First edition printing of the collected writings of Donald Judd. Judd's uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 1960s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism." Very Good / Fine. An outstandingly well preserved copy with minimal wear to covers. Contents clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

Paperback. Zustand: Good. First Edition. xv, [1], 259 pages. Photography throughout, primarily in black and white. "This is a book about photography. This is also a book of photographs, a book that speaks within and alongside and through photographs. Here is one way in which this book brushes photography against the grain: normally separated tasks - of writer and photographer, of 'critic' and 'visual artist' - are here allowed to coexist, perhaps uneasily, between the covers of a single volume." - Introduction. Publication of this work coincided with an exhibition of the same name at the Ohio State Gallery of Fine Art, November 16 - December 7, 1984. Contents clean and unmarked. Binding intact. Somewhat above-average wear to dust jacket and covers. A sound copy of this treasured work.

Soft cover. Zustand: Fine. 1st Edition. Large octavo, un paginated, 312 photographic plates. Illustrated wrappers. Very fine. - First edition. Keith Lock photography and Vince Sharp Photography and prints.

Hardcover. Zustand: Very Good. First Edition. B&W Photographs; Large 8vo 9" - 10" tall; 1975 Press of the Nova Scotia College of Art & Design & New York University Press; Halifax & New York. 1st edition. Soundly bound in original photo pictorial cloth boards with titles and "Nova Scotia Series" lettered in black to spine. Tipped in half-sheet, acetate title present. Perhaps a little handling soil to the pictorial cloth; cover board lifts slightly at front edge. Facing page b&w photos throughout on unnumbered leaves; clean and sound with no marks of any kind. Snow's pioneering photo book project, widely recognized as a formative work is presented her in complete and solid example. VG or better, as issued without dust wrpper.

First Edition. First Edition. First issue wrappered binding, without the UNIVERSAL EDITION notation on the spine, and without the added note about typographical corrections by Reich at the end of his Introduction. Association copy, inscribed by Steve Reich to Paul Fromm on the verso of the front endpaper: "for Paul Fromm / From Steve Reich." Reich's first and only book. Fromm, who passed away in 1987, was one of the most important enablers of twentieth century classical music, establishing in 1944 the Fromm Musical Foundation, which commissions major works to this day. He was a fan of Reich's work from early on, and in 1985 the Fromm Foundation commissioned Reich's piece, "New York Counterpoint," now considered one of his most important works. Though the inscription is not dated, it was likely made near to the date of publication, predating the commission by nearly a decade. A scarce signature and a great association between one of the twentieth century's greatest composers and one of its greatest patrons. Near Fine in card wrappers, in a Near Fine example of the scarce dust jacket, with only a small chip at the top front panel to note.

89 pp.; 22.5 x 28.7 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Artist's book composed of a collection of writings by Dan Graham on his video works with grouping of drawings and photographs to illustrate his installation works. Edited by Benjamin H.D. Buchloh, with contributions by Michael Asher and Dara Birnbaum. Includes exhibition history and bibliography. Good. Rubbing and wear to dust-jacket including 10.6 cm. dog-ear to bottom right corner of dust-jacket and bumping and creasing of top left corner of dust-jacket verso with light bumping of covers. Yellowing of covers. Contents clean and unmarked.

4°. Orig.-Karton. 12 S., 50 Bll. (100 S.) mit zahlreichen Abbildungen. Erste Ausgabe (gutes Exemplar, etwas angestaubt). Sprache: Deutsch Gewicht in Gramm: 750.

[1] pp.; 10.1 x 23.4 cm.; monochrome; edition size unknown; unsigned and unnumbered; offset-printed Single sided card / announcement published in conjunction with the 1981 publication of the book "Daniel Buren : Les Couleurs (Sculptures) / Les Formes : (Peintures) 1975 - 1977." An artist's book by Daniel Buren with text by the artist, Benjamin H.D. Buchloh, Jean-Françoise Lyotard, and Jean-Hubert Martin. Very Good. Light bumping to corners, otherwise clean and unmarked.