curator clark (23 resultados)

PAPERBACK. First edition. 48pp color, b/w illustrations quarto paper. slight cover wear otherwise very good.

Paperback. Condición: Very Good. Binding solid. Pages clean and bright. Ex-owner name and stamp on title page. Cover with minimal wear. ; 11 X 8.5 x .2; 48 pages.

paperback, Condición: Very Good, Carnegie Museum of Art, Pgh., 1988, 8-1/2 x11 oblong paperbk. 96pp., many photos of sculpture, NF $.

Hardcover. Condición: Good. Estado de la sobrecubierta: Very Good. First Edition; Second Printing. Inscribed by the author on the half title page. Minor shelf wear to binding. Light wear and soiling to edges of text block. Bottom corner of ffep through page two creased. Text and images unmarked. The dust jacket shows some light handling, in a mylar cover.0-300-09010-21.08 x 9.52 x 6.46 Inches; 320 pages; Signed by Author.

Paperback. Condición: Near Fine. 1st edition. square octavo, 1st ed. (1994), 30 pages.

Soft cover. Condición: Fine. First edition. N.p., over 70 ills. "An exhibition of 74 artists from the former East Block [sic] countries." One large photo of each artist's work plus summary biographical and exhibition information. Texts by Clark and Drutt ("Through the Looking Glass: Reflections on Social Change in Eastern Europe and the Soviet Union"). Can be sent outside the US for less than the default shipping rate.

First Edition. First edition. Softcover. 20 pages. Exhibition catalog for a group show that ran September 14 through October 30, 2005. Curated by Dan Devening who also contributes a brief essay as well. Includes an illustration from each of the artists in the show. A near fine copy in stapled wrappers. Scarce, with only 3 copy listed in OCLC.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: No Dust Jacket. Near Fine Condition. No dust jacket. No marks on the text block. No marks of previous ownership or inscription.; 8vo - over 7¾ - 9¾" tall.

Soft cover. Condición: Near Fine. 1st Edition. Scarce, near fine catalog for ceramic exhibition held between March 13 and April 8, 1995; 29 clean pages B35.

Condición: Fine. New York: International Center of Photography, 2005., 2005. Fine. - Octavo, 8-1/4 inches high by 5-3/8 inches wide. Softcover, bound in black & white pictorial wraps. 27 pages, illustrated from black & white and color photographs by Larry Clark. Fine. Published on the occasion of the exhibition at the International Center of Photography. The booklet includes an essay by Katherine Dieckmann titled "Coming of Age: The Films of Larry Clark".

Condición: Very good.

Softcover. Condición: VG. White illus. folded booklet; 8 panels; 2 bw figures; 3 color plates. Accompanied a 1992/3 exhibition at The Chrysler Museum; Includes an essay by Trinkett Clark, as well as an excerpt from a conversation with the artist.

Softcover. Condición: Fine. AUSTRALIAN ART -This publication supports the inaugural exhibition for the Holmes a Court Gallery, 4 February - 16 March 2000. 34 p. : col. ill. ; 18 x 25 cm. #100226 Holmes a Court Collection Painting, Australian -- Private collections -- Western Australia -- Perth -- Exhibitions Art, Colonial -- Australia -- Exhibitions Clark, Jane, 1955- Carrigan, Belinda Elizabeth's Bookshops have been one of Australia's premier independent book dealers since 1973. Elizabeth's family-owned business operates four branches in Perth CBD, Fremantle (WA), and Newtown (NSW). All orders are dispatched within 24 hours from our Fremantle Warehouse. All items can be viewed at Elizabeth's Bookshop Warehouse, 23 Queen Victoria Street\, Fremantle WA.

Soft cover. Condición: Fair. No Jacket. Pbk,147p. numerous photos and illustrations, maps (1 folded). Handbook Series No.1. New York: American Museum of Natural History, 1912. This copy has no covers. Nevertheless it is a complete, clean and unmarked book that is in a perfectly acceptable condition. g950 / m5724.

Condición: Good. 8vo. 28 pp. Soft, printed wraps with spiral binding. Very good with marginal chipping along bottom of spine. Includes 12 color photographs. Catalog created for exhibition at the University of Iowa Museum of Art in 2001.

Soft cover. Condición: Fine. Covers & Spine: front and back showing light scuffing & signs of handling otherwise undamaged, only slight wear along edges and at corners, spine is intact and solid. Binding: firm throughout. Pages & Markings: unstained, no markings, clean throughout. All items are protectively packaged, and a postal tracking number will be sent to all customers whose current email address is registered with AbeBooks.

Soft cover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Exhibition Publication. Minimal wear to jacket. Minor eraser rubbing to top corner of title page, otherwise internally clean. Binding good. 48pp Size: 230mm x 290mm. Book.

Soft cover. Condición: Very Good. 10" x 11". 84 pp. Works from the collection. Covers have some light shelf wear, small sticker remnant on ffep, otherwise bright and clean.

Card Covers. Condición: Very Good. Science Guide No. 129, circa 1940, cover wear, unmarked, illustrated with b/w photos, 63pp, VG. Book.

Softcover staple-bound, 48 pages about Gordon Matta-Clark projects; in English and German; very good condition, except covers have light rubbing and yellowing with small crease to lower right corner; no internal marks.

Pamphlet. [32] pages, illustrations, wraps. 15 x 11 in. Corners of spine bumped including significant creasing at head of spine. Fore-edge corners starting to curl; covers scuffed and lightly soiled. Scarce catalog for an exhibition at the Pittsburgh Center for the Arts, running from September 15 to November 19, 2001. Conceptual art works all dealing with facts and truth; Victor Grauer, Pablo Helguera, Ayanah Moor, Virginia Moore, and Diane Samuals are among the participants. Includes an essay by curator Vicky Clark that uses the O.J. Simpson case to explore the ?drama of false facts and untrue truths which played to a rapt national audience.? A second essay by David C. Madden. Random facts are interspersed. Two inserts: one is a photocopied flier for the show with a plan of the exhibition space; the second addresses the attack on the World Trade Center on September 11, 2001. Grauer?s video installation included found footage of a plane crash. The show expanded to include a ?community art project? that invited contributions from show attendees. No copies in WorldCat as of March 2023.

Card covered folio. Condición: Good. Betty Jaques Ilustrador. Portfolio consisting of title page, introduction, map, descriptive list of plates [4-pages each in French and English, and 40 illustrated leaves. Of particular interest for its stated objective: "With current interest in the Pacific War Zone reaching unprecedented height, it has been felt by the McGill University Museum that an exhibition of native cultures of this far-flung combat area would be of special concern to University students and to the general public. World convalescence from the present struggle will be slow and difficult, and it is only through increased popular acquaintance, mutually developed among all peoples, and through sympathetic understanding of each other's social, cultural and economic problems that we may hope to settle once more into the ways of peace . This portfolio, based on some of the more important objects in this exhibition, is offered in the hope that it will help to focus public attention to the artistic accomplishments of a vanishing people from whose ebbing genius we have much to learn." [from the Introduction]. Ex-library, with call number labels and stamps (including "cancelled" stamp). Covers reinforced with tape; lower flap lacking. Paper highly acidified: brittle and chipping at edges. Good only; but an important testament to a noble effort.

Soft cover. Condición: Very Good. 1st Edition. Christine König Galerie, 2002. Softcover. 76 pages. Three color plates. English/German. Very good. Wear to top & bottom near spine. Light corner wear. Signed by Ed Clark. A unique exhibition curated by the artist David Hammons, Quiet as it's Kept, an exhibition featuring three painters based in New York, seeks to challenge the comforting discourse surrounding the presumed transnational identity of abstract painting. Painters ED CLARK, STANLEY WHITNEY, and DENYSE THOMASOS are all abstract artists who are also African Americans. Each one works in New York City. While none of this seems remarkable in itself, this exhibition seeks to challenge the commonplace identification the art public often makes between black artists and what might be called facile narratives surrounding "African American art." Such narratives often fail to take into account, suggests curator Hammons, the fact that there might be a unique "and hitherto little examined" approach to abstract painting that derives from the African American experience. Each of the artists in Quiet as it's Kept has spent his or her career attempting to evade the gaze of those who would police the definitions of "black" art. Clark's luminous canvases live in an environment of absolute freedom. The paintings are often created using a push broom, and carry within them not only an intimation of a reversal of status embodied in that tool, but the paintings also suggest an obscure sense of unrestricted play. Whitney creates paintings in which color, randomness, and architecture are all constituent elements. The apparently random patterning of color in his canvases recall those patterns that can sometimes be seen in the cloth and quilt making artists of the African American south. On the other hand, Thomasos is concerned with the abstract patterns that draw their dynamism from those structures that have hitherto been considered as signs of restriction, such as jails and slave transport vessels. "The identity of black culture," writes New York independent critic Geoffrey Jacques, who contributed an essay to the exhibition's catalogue, "is deeply rooted in experiment practice." That aspect of black identity, which is widely recognized in music and is beginning to be recognized in literature, has rarely been recognized in the visual arts. With this exhibition, curator Hammons seeks to sharpen a discourse that will focus attention on the experimental nature of African American visual culture as well. Signed by Author(s).