barry mccallion (24 resultados)

Soft cover. Condición: Very Good. Paperback. Slim 72 pg. Exhibition catalog. Sunfading to edges of orange wrappers, otherwise very good.

Trade Paperback. Condición: Used - Very Good. Text in German and English.

20 x 26 cm, Seiten nicht paginiert, 16 Bl., Broschur mit Klammerheftung, Einband leicht angeschmutzt, Papier teilweise etwas angegilbt, sonst in gutem Zustand, zweisprachiger (de/en) Katalog.

Softcover staple bound, 32 pages, in German and English, very good condition, pages yellowed at edges; no internal marks. Foreign shipping may be extra.

Hardcover. Condición: Very Good. A COLLECTION OF MAILOUTS. PAPER, SOME CORNER WEAR ELSE VG COPY.

4°, broschur. Condición: Sehr gut. unpaginierte Seiten Buch ist in einem sehr guten Zustand. Einband leicht berieben, angestaubt.Die Ausstellung Segel im Vorbeifahren entstand in Zusammenarbeit mit dem Berliner Künstlerprogramm des DAAD, Harlequin Art, Wiesbaden u. Galerie Bettina, Zürich.Ausgetragenes Bibliotheksexemplar, B16-03-06G Sprache: Deutsch Gewicht in Gramm: 131.

Heft. Condición: Gut. 26 x 20 cm 28 S. : zahlr. Ill. (z.T. farb.). Heft mit Klammer. Zustand: Gut (Innen); Einband Außen hat geringe Gebrauchsspuren; Vorderdeckel hat links unten eine Knickspur; * Die Photos sind original von uns erstellt worden, u.a. erkennbar an einem kleinen weißen Stück Papier im oberen Schnitt. Ab und an verwenden Suchmaschinen Verlagsphotos, bei den Portalen selbst, werden aber nur unsere Originalphotos gezeigt.

First Edition. First edition. Softcover. Exhibition catalog for a show that ran November 1970 through September 1971. Features a foreword by Dick Higgins. Includes numerous black and white illustrations. A very near fine copy in wrappers.

decorated paper wrappers. McCallion, Barry Ilustrador. 4to. decorated paper wrappers. 24 unnumbered leaves with illustrations, some in color. Foreword Dick Higgins. A fine copy. WorldCat records only twelve copies known in American institutions.* From the artist's website: "Barry McCallion was born in the Bronx, New York and received degrees from Columbia University (English Literature) and Claremont Graduate University (Sculpture). His natural inclination to travel has been officially sponsored by the DAAD artist in residence program to Berlin, the Cite des Arts Atelier in Paris and most recently, by the Visual Arts Board of the New Zealand and Australian Arts Councils. The artist currently lives and works on the east end of Long Island, New York.".

Broschiert. Condición: Gut. 4 Seiten Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Dieser Artikel weist folgende Merkmale auf: Saubere Seiten in fester Bindung. Leichte Gebrauchsspuren. Sprache: Deutsch Gewicht in Gramm: 131.

Erste Auflage. 26 x 20 cm. 32 unpaginierte S. OKarton. Einband leicht nachgedunkelt und etwas angestaubt, sonst gutes Exemplar. Texte in Deutsch und teilweise in Englisch. Mit Beiträgen von Karl Ruhrberg, Barry McCallion und Wolfgang Max Faust sowie mit Auszügen aus Mary Hardings Interview mit Barry McCallion im Juli 1976. Durchgehend mit s/w Abbildungen versehen. Sprache: Deutsch und Englisch.

10,5 x 14,8 cm. 1 Blatt. OKarton-Karte. Sehr gutes Exemplar. Einfache einseitig bedruckte Karte mit handschriftlich wiedergegebenem Text. [Vgl. Rene Block. Ich kenne kein Weekend. n.b.k., S.468 ].

gr 8°, Klammerheftung,28 S. - gutes Exemplar. Buch.

Condición: Very Good. First Edition. This is a very early and scarce work by noted book artist, Barry McCallion. Mr. McCallion has had a lengthy career in the book arts following his graduation from Columbia and move to the west coast for a period of time. His work can be found in many institutional and private collections. His career has been documented in a fine article by Mark Segal in the East Hampton Star in 2013: "A Springs Artist's Creative Odyssey." In the article, Segal also writes extensively about Mr. McCallion's "astonishingly beautiful and utterly unique books," saying "they use an impressive range of materials and techniques. . It's difficult to do justice to the variety and complexity of the books in words or in photographs. They are ideally experienced by hefting and opening the boxes and exploring the contents in what becomes a very personal exploration of an artwork." This is the original first publication of Mr. McCallion's interesting and somewhat mysterious book. It was later published again by the ABYSS Publications. The text is a series of questions and comments about art and life. Bound in bright yellow paper covers with a white cloth spine. The front cover has the title and a design of dark and white circles. The staples attaching the book to the spine show through the spine, otherwise book is in very good plus condition. Measures 8.5 x 13 inches. Unpaginated. [12 pages printed on rectos only] PRI/121624.

Condición: Very good +. First Edition. thus. First ABYSS edition (originally published by Aleatory Novelties) of the first-ever publication by this noted book artist. Wraps. 4to. Printed wraps. A very good plus copy. Mild rubbing, bumps. Interior bright and clean throughout. Good and sound. Unpaginated.

decorated paper wrappers. McCallion, Barry Ilustrador. tall 4to. decorated paper wrappers. (27) pages. Foreword Dick Higgins. First ABYSS edition (originally published by Aleatory Novelties) of the first-ever publication by this noted book artist. A fine copy. From the artist's website: "Barry McCallion was born in the Bronx, New York and received degrees from Columbia University (English Literature) and Claremont Graduate University (Sculpture). His natural inclination to travel has been officially sponsored by the DAAD artist in residence program to Berlin, the Cite des Arts Atelier in Paris and most recently, by the Visual Arts Board of the New Zealand and Australian Arts Councils. The artist currently lives and works on the east end of Long Island, New York.".

Condición: Near fine. Barry McCallion, Prepare to Publish: a collection of Mailouts November 1970 - September 1971. With a foreword by Dick Higgins, Aleatory Press Ltd., Claremont, California, 1972. Printed black, green and orange on various paper stocks, including fold-out and perforated card. In brown wraps printed with silver screen print. Condition: Near fine.

decorated paper wrappers. McCallion, Barry Ilustrador. square 8vo. decorated paper wrappers. 31 unnumbered leaves of plates. Reoriented and rotated drawings of the same manned sailboat; printed on translucent paper. A fine copy. "550 exmplaires . produit dans les ateliers d'e cart, gene`ve, entre de cembre 197 et mars 1979."--Colophon WorldCat records only three copies known in American institutions. From the artist's website: "Barry McCallion was born in the Bronx, New York and received degrees from Columbia University (English Literature) and Claremont Graduate University (Sculpture). His natural inclination to travel has been officially sponsored by the DAAD artist in residence program to Berlin, the Cite des Arts Atelier in Paris and most recently, by the Visual Arts Board of the New Zealand and Australian Arts Councils. The artist currently lives and works on the east end of Long Island, New York.".

Soft cover. Condición: Very Good. 1st Edition. Stunning publication featuring a wide variety of contributors with varying methods of color printing and inserts, which are all present. Some indenting to the wraps from the card inserts in front and back. Some minor rubbing to covers and some corner wear, as well as a crease to the bottom of one page towards the back but otherwise a lovely copy, now in mylar.

McCallion, Barry Ilustrador. large 4to (10 1/4 x 13 inches). blue cloth-covered boards, cover design of painted on the front cover, cloth clamshell box, title on paper spine label. thirteen hinged pages, unpaginated, but each is a full-page spread, with one page colophon at rear. Unique foldout Artist Book by Barry McCallion. Fine in fine clamshell box. Penelope's Web - the making of an artist's book Barry McCallion "Penelope's Web is a work of weaving on many levels. The background story is familiar enough: twenty years have passed since the fall of Troy, but Odysseus has not returned to Ithaca. Convinced that he is dead, unruly suitors descend on his estate, make free with the wine, mistreat the servants, and reduce the farm flocks to barbeque. When the suitors insist that Penelope choose one of them to marry, she delays by weaving a shroud by day and undoing the work by night. The story of Penelope's attempt to deceive the suitors occurs three times - at the beginning, in the middle, and at the end of the poem. The story is told by three different characters. First by Antinous, one of the suitors, who is outraged and indignant over Penelope's "duplicity." Next, Penelope confides in the shabby wanderer (Odysseus in disguise) who has arrived at her door. Lastly, the ghost of Amphimedon, one of the slain suitors, upon reaching Hades, tells the story of Penelope's ruse to Agamemnon. Although the versions are widely spaced throughout the poem, each 'telling' mirrors the one before it and whole sentences are repeated. Antinous, Penelope, and Amphimedon may have different perspectives: one criticizes, one confides, and one laments, but they rely on the same narrative framework and use the same expressions. Homer, subtly turning from one narrator to another, is weaving and unweaving Narrative itself, using multiple voices and different perspectives to pull us back and forth through narrative time. I began the book by printing each of the speeches, first in black, then in drop-out type, on several colors of card stock. These printed texts were intended for collage and paper weaving. For the book's pages I chose sheets of heavy beige, brown, and red St. Armand paper. Where appropriate, I treated pages as looms by incising parallel lines, after which I cut the texts into long strips then wove the strips through the incised lines. Other pages were collaged with images and designs made from India ink drawings, metallic inks, acrylic paint, and rubber stamps of farm animals. Sometimes the printed word was legible, often (as in the woven pages) I reduced the text to an abstraction, and it became a pattern. I assigned each narrator twelve pages and began the sections with a handwritten copy of the speaker's speech. Antinous, the first to be heard, is a living suitor and, as such, has his mind on the worldly benefits of marrying Penelope. I collaged his pages using the objects of his desire: gold and silver coins, outlines of a female form, and the cutout rubber-stamp forms of farm animals. I wanted the viewer to feel his ambition, his sense of urgency, so I cut through some of the pages, supplying the viewer with a rear-view of what has gone before and a preview of what is to come. Penelope's twelve pages are quite different. While Antinous and the others go on with their riotous living, Penelope is trapped, a strong woman weakened by circumstance. Odysseus, her long-absent husband, is presumed dead and custom expects a widow to marry. Besieged by suitors, watching the estate's resources plundered, Penelope tells us her plan: "First a god gave me the inspiration to set up a great web on my loom. So, by day I used to weave the great web, but every night I had torches set beside it and undid the work." Her deception succeeds for three years, but eventually, a maid betrays her to the suitors and her ruse is discovered. Penelope presents a character in contrasts: she is beautiful and noble while her circumstances are degraded. I designed many of Penelope's pages in glittering color, but opposed the colors with a motif of interlocking rectangles and other images suggesting confinement and constraint. When I cut through Penelope's pages, the openings reveal a network of bars and blank walls. Each new 'view' opens onto further obstructions. I wove some text strips into a dense web, and separated others into individual words arranged along a tight, dizzying spiral. Her situation seems hopeless; she has no one to tell her misfortunes but the shabby old wanderer who, in chapter 19, asks merely for a place to rest. In despair, she ends her tale with the words: "And now I can neither evade marriage with one of them nor think of any means of escape." The theme of escape and confinement plays out in subsequent chapters as Odysseus shuts the palace doors, trapping the suitors inside the great hall. As they flee for their lives, the suitors form a great wheel of moving and falling bodies, a form I employed several times throughout the book. Amphimedon, our third speaker, is killed by Odysseus, arrives in Hades, and tells his story to Agamemnon. He accuses Penelope of concocting an elaborate plan to "bring about our downfall and our death." Agamemnon is an interesting choice of listener, having returned from the war in Troy years before, only to be the victim of a plot by his own wife. For Amphimedon's pages I conjured the dim, shadowed world of Hades. I removed the red paper used for the Antinous and Penelope sections and substituted a sheet of heavy, black paper. I further dulled the beige and brown pages with areas of gray acrylic paint, and stark black and white type. I drew outlines of a male figure that resembles the chalk outline at crime scenes. Hollowed-out and insubstantial, the splayed figure of Amphimedon tumbles through space. All is underworld: bleak, unregulated and untethered. Words form lines and swirl around the souls of the dead. Twisting and turning on the page, they take a meandering, somewhat aimless journey of their own. I.

McCallion, Barry Ilustrador. 8vo. full limp leather with a leather wrap-around, cloth-covered slipcase, paper color illustration on front panel, paper spine label which the artist has signed in ink. thirteen hinged pages, unpaginated, but each is a full-page spread, with one page colophon at rear. Unique foldout Artist Book by Barry McCallion. Fine in fine clamshell box. Signed and dated by the artist on the title page. From the colophon: "Excerpts from Kim, Rudyard Kipling's novel, occupy the recto pages of this book. The verso pages begin as a large emply circle where, page after page, images slowly accrete by the addition of common objects: a begging bowl, prayer beads, an arrow, a chair, a leaf, a cloud. The verso and recto pages face each other, developing and advancing as consectutive narratives, one visual and the other verbal. I used Richard de Bas cream wove paper for the endpapers and white Rives BFK paper for the text block. The drawings are made with India ink pens and brushed Winsor Newton metallic inks and colors. The book has forty-five text pages and forty-five image pages. Rhonda Miller of myhandboundbooks in Halifax, Nova Scotia bound the book in a simple, brown leather cover. B McCallion | 2013" From the artist's website: "Barry McCallion was born in the Bronx, New York and received degrees from Columbia University (English Literature) and Claremont Graduate University (Sculpture). His natural inclination to travel has been officially sponsored by the DAAD artist in residence program to Berlin, the Cite des Arts Atelier in Paris and most recently, by the Visual Arts Board of the New Zealand and Australian Arts Councils. The artist currently lives and works on the east end of Long Island, New York." full limp leather with a leather wrap-around, cloth-covered slipcase, paper color illustration on front panel, paper spine label which the artist has signed in ink.

McCallion, Barry Ilustrador. large 4to (10 3/8 x 13 1/4 inches). linen over boards, paper cover b&w illustration, paper spine label, clamshell box with title on spine label. (33) pages. Unique foldout Artist Book by Barry McCallion. Fine in fine clamshell box. Signed and dated by the artist on the colophon page. Collage and text handwritten in French and English. From the colophon: "Arthur Rimbaud wrote Le Bateau Ivre in 1871 when he was seventeen years old. Four years later, at the age of twenty-one, he gave up writing altogether. For a while he wandered the world, finally arriving in Abyssinia where he hoped (unsuccessfully) to make his fortune trading coffee and guns. Severely ill and returning to France, he reached Marseilles where he dies of cancer. Rimbaud, then thirty-seven years old, was unaware that he was being acclaimed in Paris as the greatest poet of his time. Samuel Beckett, himself an émigré from Ireland to France, translated The Drunken Boat in 1932. My treatment of the poem is made with India ink, acrylic paint and collage on Richard de Bas cream wove paper. The book cover is linen over boards with a linen presentation box. Barry McCallion | 2018" From the artist's website: "Barry McCallion was born in the Bronx, New York and received degrees from Columbia University (English Literature) and Claremont Graduate University (Sculpture). His natural inclination to travel has been officially sponsored by the DAAD artist in residence program to Berlin, the Cite des Arts Atelier in Paris and most recently, by the Visual Arts Board of the New Zealand and Australian Arts Councils. The artist currently lives and works on the east end of Long Island, New York." linen over boards, paper cover b&w illustration, paper spine label, clamshell box with title on spine label.

Ausstellung im Amerika Haus Berlin. Text: Peter Frank. Ausgestellte Werke: 16. 27 Seiten mit zahlr. Abbildungen. Gr.8vo. OKart. Berlin, Amerika Haus 1979. - - Umschlag berieben.

senza rilegatura. Condición: ottimo. prima edizione. McCALLION Barry (New York 1940) Berlin, René Block galerie, 1973, 10,5x15 cm., invitation cardboard illustrated with a black and white image and text printed in black on a white background, published on the occasion of the exhibition (Berlin, René Block 2 - 14 June 1973). Mailed copy.