Brownstein lewis (7 resultados)

Hardcover. Condición: Very Good. No Dust Jacket. First Edition.

Soft cover. Condición: Near Fine. 1st Edition. For original mailing to a Greenwich Village address on Bank Street. Middle pages fold out to the April/May poster.

31+212+1 pages, bibliography, tables : study of 834 candidates for the 1964 KPE from 4 Districts, what happened to them & how the data might effect Kenya's educational planninghardback, almost vg east africa kenya kenyan education kenya primary schools education african kenya kpe.

Softcover. Condición: Fine. Magazine. Cover by Ray Johnson. (24)pp. Single sheets printed both sides and secured with two staples. A fine copy. An influential mimeograph created by di Prima and LeRoi Jones featuring some of the most important poets of the 20th Century. Unlike other magazines, this so-called "newsletter" was distributed via a mailing list, many of which were noted poets, journalists, critics, publishers and artists. For this reason, most copies were hand addressed or affixed with a mailing label and stamp, and folded for mailing. This issue guest edited by Bill Berkson with contributions from Larry Fagin, Ron Padgett, Max Ernst, Michael Brownstein, Anne Waldman, Tom Clark, Clark Coolidge, Blaise Cendrars, David Shapiro, Kenneth Koch, John Thorpe, Lewis Warsh, and John Ashbery.…

Stapled wraps. Condición: Good+. No Dust Jacket. Edgeworn with creasing and small tears to the yapp edges, otherwise light wear. Solid oversize stapled wraps. ; Third of six Angel Hair poetry magazines produced by Anne Waldman and Lewis Warsh in their New York apartment during their marriage. Additional contributors to this issue not in the Author section due to space limitations were: Dick Gallup, Robert Duncan, Vito Hannibal Acconci, Charles Stein, Tom Clark, Ron Padgett, and Rene Ricard. Angel Hair was a vital part of the "mimeo revolution" and published work by a generation of innovative, experimental poets, especially those associated with the second-generation New York School, Beat, and Black Mountain movements. This issue number 3 notably including Robert Duncan recalling the serendipitous day when Waldman and Warsh met leading to the birth of Angel Hair in his poem "At the Poetry Conference: Berkeley After the New York Style." ; [48] pages. …

Magazine. First Edition. [57] 8.5x14 inch mimeographed sheets side-stapled into covers with illustration and title on front. Light wear to covers else good. This was St. Marks Poetry Project's magazine, part of the Mimeo Revolution. Anne Waldman became director of the project in 1968 and edited most of the issues thereafter. Jim Carroll collaborates with Larry Fagin & offers "Ten Things I Do When I Shoot Up".…

[1] pp.; 28 x 21.6 cm.; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Flyer / announcement published to promote events held between 13th and 14th Streets and 6th and 5th Avenues, New York City, on April 18, 1969. Participating artists included Vito Hannibal Acconci, Terence Anderson, Arakawa, Gregory Battcock, Matthew Benedict, Michael Brownstein, Scott Burton, James Lee Byars, Rosemarie Castoro, Eduardo Costa, Bill Creston, Larry Fagin, Madeline Gins, John Giorno, Bobbi Gormley, Tom Gormley, Dan Graham, Katherine Greef, Stephen Kaltenbach, Joseph Kosuth, Leandro Katz, Alcides Lanzy, Lucy Lippard, Rosemary Mayer, Ben Patterson, John Perreault, Lil Picard, Adrian Piper, H Alexander Roberts, Marjorie Strider, Mr. T., Bernar Venet, Frank Lincoln Viner, Anne Waldman, Lewis Warsh, Luis Wells, Hannah Weiner and Lawrence Weiner. These organized street works can be understood as extensions of both the Pop art Happenings of the earlier 1960s and the street protests taking place in New York City and throughout the country during the 1968 elections, the Civil Rights Movement, and the Vietnam War. Whereas the Pop happenings usually took place in galleries and performance spaces, the street works were unconfined by physically walled-in spaces. Enacted in open environments, comingled with the natural flow of pedestrians, these performances created unlimited possibilities for happenstance with the sidewalk as the stage and the city as backdrop, the inhabitants of New York became active participants with the artists, willingly or not. Fair / Good. Folded in three and two tape stains. Name of recipient on verso in ink. …