1978, ISBN: 9780195031966
Edition reliée
San Francisco and New York: San Francisco Museum of Modern Art; Distributed Art Publishers, 1994. 187 pages, illustrations (some colour); 31 cm. Catalogue of an exhibition held at the San… Plus…
San Francisco and New York: San Francisco Museum of Modern Art; Distributed Art Publishers, 1994. 187 pages, illustrations (some colour); 31 cm. Catalogue of an exhibition held at the San Francisco Museum of Modern Art, January 18 to April 30, 1995. Near fine. Firm binding, clean inside copy. Light shelfwear to wraps. OVERSIZE! No priority/international, except by arrangement. Richly illustrated with colour plates. Includes: Robert Frank, Andy Warhol, Gerhard Richter, Edward Ruscha, John Baldessari, Dan Graham, Martha Rosler, Larry Clark, Jeff Wall, James Coleman, Chantal Akerman, Nan Goldin, Stan Douglas, Cady Noland, and Felix Gonzalez-Torres. CONTENTS: Public information: desire, disaster, document, by Gary Garrels; Wrong, by Jim Lewis; Meditations on the document, by Sandra S. Phillips; Desiring machines: notes on commodity, celebrity, and death in the early work of Andy Warhol, by Christopher Phillips; Inside/out, by Abigail Solomon-Godeau; Leave proof: media and public information, by Robert R. Riley; Plates and commentary, by John S. Weber.. 1st. Paperback. Very Good. 4to. Collectible., San Francisco Museum of Modern Art; Distributed Art Publishers, 1994, 3, Raleigh, NC, and Munich, Germany: North Carolina Museum of Art; Prestel, 2003. Cloth, xix, 220 pages, illustrations (some colour); 29 cm. Exhibition held November 2, 2003 to March 7, 2004. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. OVERSIZE! No priority/air, except by special arrangement. "The North Carolina Museum of Art and Blue Cross and Blue Shield of North Carolina launched the nation's most ambitious contemporary art exhibition celebrating the centennial of powered flight. Defying Gravity: Contemporary Art and Flight presents approximately 91 major works and several special commissions derived from the interaction between aviation and the imagination and exploring the human desire to fly.Works included in Defying Gravity were created during the last quarter of the 20th century and the first years of the 21st, and span a diverse range of styles, approaches and media, including painting, sculpture, installations, photography, video and film. Artists featured in the show range from American masters Jonathan Borofsky, Roger Brown, James Rosenquist, Frank Stella and Wayne Thiebaud to international art figures such as Alighiero Boetti, Andreas Gursky, Malcolm Morley and Panamarenko, and to young masters and emerging artists including Lawrence Gipe, Margot Gran, Vera Lutter and Robert and Shana ParkeHarrison. Also featured are several artists with North Carolina connections, such as Brent Cole, Kara Hammond, Marvin Jensen and Michael A. Salter. While straightforward imagery of the airplane is represented in the show, the exhibition also investigates aviation's wide-ranging symbolic implications. For instance, a plane can be a source of anxiety and fear, as revealed in such works as Exploding Plane by Heide Fasnacht and a modern-day Saint Sebastian - an airman whose body is pierced by airplanes rather than arrows - by the late Michael Richards, an artist killed in the attacks on the World Trade Center. It can also triumphantly be a symbol for creativity and transcendence, as in Rosemary Laing's color photographs of an effervescent human figure, reveling in being airborne as seen in the picture above. Man's personal desire to fly is also explored with a video of a self-propelled flight over Greenland by Simone Aaberg K rn and works by Jamaica-born Albert Chong and North Carolina resident Hoss Haley, who were each inspired by the myth of Icarus and Daedalus. Flight's effect on artistic perspective can be detected in aerial views such as Ed Ruscha's maplike painting of Los Angeles streets and in the video component of Brent Cole's installation, which simulates flight by taking viewers on a virtual journey through the Museum, out the door and around the grounds. And equally engaging perspectives can be found at airports themselves: striking, large color photographs taken from inside airport terminals by the Swiss team of Peter Fischli and David Weiss will be joined by John Schabel's photographs, taken from the tarmac, of passengers seen through plane porthole windows and by Leo Rubinfien's views of passengers taken aloft. Additionally, several artists use actual airplane parts and materials to create art, including Donald Lipski, who draws materials from the salvage yard of Grumman Aero-space Corporation, and Mark Newson, who uses the aluminum and rivets more commonly associated with a fuselage to construct futuristic furniture. And Chilean Eugenio Dittborn uses the airplane in a much different manner - folding each of his paintings to fit into an envelope and sending them around the world via airmail, a practice he began in the mid-1980s to circumvent the censorship of the Augusto Pinochet regime and the resulting cultural boycott. Two paintings, each with its envelope detailing the work's itinerary, will be on view. The Museum has commissioned several pieces specifically for the exhibition." - Publisher.. 1st. Hardcover. NEW/NEW. 4to. Collectible., North Carolina Museum of Art; Prestel, 2003, 6, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
| usa, u.. | Biblio.co.uk |
1978, ISBN: 9780195031966
Edition reliée
NY: Abbeville Press. Very Good in Very Good dust jacket; Pages tops lightly soiled.. 1979. Hardcover. 0896590682 . Foreword by Fred Myers. Numerous full-page color plates of paintings of … Plus…
NY: Abbeville Press. Very Good in Very Good dust jacket; Pages tops lightly soiled.. 1979. Hardcover. 0896590682 . Foreword by Fred Myers. Numerous full-page color plates of paintings of Western scenes by various artists in the collection of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. Includes art work by George Catlin, Robert Henri, N. C. Wyeth, Frank Tenney Johnson, Thomas Moran, Howard Pyle, Albert Bierstadt, Frederic Remington, Charles M. Russell, Sydney Prior Hall, Charles Bird King, William Ranney and Alfred Jacob Miller, among many others. Author photo on rear jacket flap. ; 4to - over 9¾" - 12" tall; 157 pages ., Abbeville Press, 1979, 3, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
| usa, usa | Biblio.co.uk |
1978, ISBN: 9780195031966
London: Macdonald, 1985. Oversize Paperback. Very Good. XL. A clean, unmarked book with a tight binding. 10 1/8""w x 11 7/8""h. Includes 25 photographic plates suitable for framing., … Plus…
London: Macdonald, 1985. Oversize Paperback. Very Good. XL. A clean, unmarked book with a tight binding. 10 1/8""w x 11 7/8""h. Includes 25 photographic plates suitable for framing., Macdonald, 1985, 3, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
| usa, usa | Biblio.co.uk |
1978, ISBN: 9780195031966
New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography c… Plus…
New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
| Biblio.co.uk |
1979, ISBN: 0195031962
Livres de poche
[EAN: 9780195031966], Gebraucht, guter Zustand, [PU: Oxford University Press, New York], xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean ins… Plus…
[EAN: 9780195031966], Gebraucht, guter Zustand, [PU: Oxford University Press, New York], xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education. Size: 8vo, Books<
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1978, ISBN: 9780195031966
Edition reliée
San Francisco and New York: San Francisco Museum of Modern Art; Distributed Art Publishers, 1994. 187 pages, illustrations (some colour); 31 cm. Catalogue of an exhibition held at the San… Plus…
San Francisco and New York: San Francisco Museum of Modern Art; Distributed Art Publishers, 1994. 187 pages, illustrations (some colour); 31 cm. Catalogue of an exhibition held at the San Francisco Museum of Modern Art, January 18 to April 30, 1995. Near fine. Firm binding, clean inside copy. Light shelfwear to wraps. OVERSIZE! No priority/international, except by arrangement. Richly illustrated with colour plates. Includes: Robert Frank, Andy Warhol, Gerhard Richter, Edward Ruscha, John Baldessari, Dan Graham, Martha Rosler, Larry Clark, Jeff Wall, James Coleman, Chantal Akerman, Nan Goldin, Stan Douglas, Cady Noland, and Felix Gonzalez-Torres. CONTENTS: Public information: desire, disaster, document, by Gary Garrels; Wrong, by Jim Lewis; Meditations on the document, by Sandra S. Phillips; Desiring machines: notes on commodity, celebrity, and death in the early work of Andy Warhol, by Christopher Phillips; Inside/out, by Abigail Solomon-Godeau; Leave proof: media and public information, by Robert R. Riley; Plates and commentary, by John S. Weber.. 1st. Paperback. Very Good. 4to. Collectible., San Francisco Museum of Modern Art; Distributed Art Publishers, 1994, 3, Raleigh, NC, and Munich, Germany: North Carolina Museum of Art; Prestel, 2003. Cloth, xix, 220 pages, illustrations (some colour); 29 cm. Exhibition held November 2, 2003 to March 7, 2004. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. OVERSIZE! No priority/air, except by special arrangement. "The North Carolina Museum of Art and Blue Cross and Blue Shield of North Carolina launched the nation's most ambitious contemporary art exhibition celebrating the centennial of powered flight. Defying Gravity: Contemporary Art and Flight presents approximately 91 major works and several special commissions derived from the interaction between aviation and the imagination and exploring the human desire to fly.Works included in Defying Gravity were created during the last quarter of the 20th century and the first years of the 21st, and span a diverse range of styles, approaches and media, including painting, sculpture, installations, photography, video and film. Artists featured in the show range from American masters Jonathan Borofsky, Roger Brown, James Rosenquist, Frank Stella and Wayne Thiebaud to international art figures such as Alighiero Boetti, Andreas Gursky, Malcolm Morley and Panamarenko, and to young masters and emerging artists including Lawrence Gipe, Margot Gran, Vera Lutter and Robert and Shana ParkeHarrison. Also featured are several artists with North Carolina connections, such as Brent Cole, Kara Hammond, Marvin Jensen and Michael A. Salter. While straightforward imagery of the airplane is represented in the show, the exhibition also investigates aviation's wide-ranging symbolic implications. For instance, a plane can be a source of anxiety and fear, as revealed in such works as Exploding Plane by Heide Fasnacht and a modern-day Saint Sebastian - an airman whose body is pierced by airplanes rather than arrows - by the late Michael Richards, an artist killed in the attacks on the World Trade Center. It can also triumphantly be a symbol for creativity and transcendence, as in Rosemary Laing's color photographs of an effervescent human figure, reveling in being airborne as seen in the picture above. Man's personal desire to fly is also explored with a video of a self-propelled flight over Greenland by Simone Aaberg K rn and works by Jamaica-born Albert Chong and North Carolina resident Hoss Haley, who were each inspired by the myth of Icarus and Daedalus. Flight's effect on artistic perspective can be detected in aerial views such as Ed Ruscha's maplike painting of Los Angeles streets and in the video component of Brent Cole's installation, which simulates flight by taking viewers on a virtual journey through the Museum, out the door and around the grounds. And equally engaging perspectives can be found at airports themselves: striking, large color photographs taken from inside airport terminals by the Swiss team of Peter Fischli and David Weiss will be joined by John Schabel's photographs, taken from the tarmac, of passengers seen through plane porthole windows and by Leo Rubinfien's views of passengers taken aloft. Additionally, several artists use actual airplane parts and materials to create art, including Donald Lipski, who draws materials from the salvage yard of Grumman Aero-space Corporation, and Mark Newson, who uses the aluminum and rivets more commonly associated with a fuselage to construct futuristic furniture. And Chilean Eugenio Dittborn uses the airplane in a much different manner - folding each of his paintings to fit into an envelope and sending them around the world via airmail, a practice he began in the mid-1980s to circumvent the censorship of the Augusto Pinochet regime and the resulting cultural boycott. Two paintings, each with its envelope detailing the work's itinerary, will be on view. The Museum has commissioned several pieces specifically for the exhibition." - Publisher.. 1st. Hardcover. NEW/NEW. 4to. Collectible., North Carolina Museum of Art; Prestel, 2003, 6, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
1978, ISBN: 9780195031966
Edition reliée
NY: Abbeville Press. Very Good in Very Good dust jacket; Pages tops lightly soiled.. 1979. Hardcover. 0896590682 . Foreword by Fred Myers. Numerous full-page color plates of paintings of … Plus…
NY: Abbeville Press. Very Good in Very Good dust jacket; Pages tops lightly soiled.. 1979. Hardcover. 0896590682 . Foreword by Fred Myers. Numerous full-page color plates of paintings of Western scenes by various artists in the collection of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. Includes art work by George Catlin, Robert Henri, N. C. Wyeth, Frank Tenney Johnson, Thomas Moran, Howard Pyle, Albert Bierstadt, Frederic Remington, Charles M. Russell, Sydney Prior Hall, Charles Bird King, William Ranney and Alfred Jacob Miller, among many others. Author photo on rear jacket flap. ; 4to - over 9¾" - 12" tall; 157 pages ., Abbeville Press, 1979, 3, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
1978
ISBN: 9780195031966
London: Macdonald, 1985. Oversize Paperback. Very Good. XL. A clean, unmarked book with a tight binding. 10 1/8""w x 11 7/8""h. Includes 25 photographic plates suitable for framing., … Plus…
London: Macdonald, 1985. Oversize Paperback. Very Good. XL. A clean, unmarked book with a tight binding. 10 1/8""w x 11 7/8""h. Includes 25 photographic plates suitable for framing., Macdonald, 1985, 3, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
1978, ISBN: 9780195031966
New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography c… Plus…
New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<
1979, ISBN: 0195031962
Livres de poche
[EAN: 9780195031966], Gebraucht, guter Zustand, [PU: Oxford University Press, New York], xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean ins… Plus…
[EAN: 9780195031966], Gebraucht, guter Zustand, [PU: Oxford University Press, New York], xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education. Size: 8vo, Books<
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Informations détaillées sur le livre - Light Readings: A Photography Critic's Writings, 1968-78 (Galaxy Books)
EAN (ISBN-13): 9780195031966
ISBN (ISBN-10): 0195031962
Version reliée
Livre de poche
Date de parution: 1978
Editeur: Oxford University Press Inc
Livre dans la base de données depuis 2009-05-20T17:03:01+02:00 (Paris)
Page de détail modifiée en dernier sur 2024-04-10T18:11:34+02:00 (Paris)
ISBN/EAN: 0195031962
ISBN - Autres types d'écriture:
0-19-503196-2, 978-0-19-503196-6
Autres types d'écriture et termes associés:
Auteur du livre: coleman
Titre du livre: light readings, writing light, books photography, galaxy, 1968, 1978
Autres livres qui pourraient ressembler au livre recherché:
Dernier livre similaire:
9780195025163 Light Readings: A Photography Critic's Writings, 1968-78 (Coleman, A. D.)
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