Sam lewitt (21 resultados)

Paperback. Condición: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Paperback. Condición: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Paperback. Condición: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Paperback. Condición: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condición: Near Fine. 80 pp. Tightly bound. Spine not compromised. Text is free of markings. No ownership markings. No remainder mark. Book still in the original publisher shrink wrap.

Paperback. Condición: Used-Very Good. Pap. Slight shelf-wear.

Softcover, 136 pages, as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Paperback. Condición: Clean & Unmarked. Small amount of sticker damage on rear, but otherwise clean and straight. Clean text and sturdy binding. 82 pp.

Condición: New.

Paperback. Condición: new. Paperback. A graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.A graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.CURE (the Work) is a graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.Lewitt's exhibition departs from the recent closure and demolition of Ford Genk, formerly a major employer in the region. As Ford Genk was undergoing demolition, the new wing of Z33 was under construction in the nearby city of Hasselt. CURE (the Work) retools elements of the demolished factory, as well as two manual earth ramming presses compacting soil extracted from the Ford site, recasting the galleries at Z33 as a production line for interlocking compressed earth blocks: a low-cost building material designed for self-help housing in so-called developing countries, as well as practitioners of small-scale ecological self-sufficiency. Each stage in the brick production process-compressing, curing, and stacking-is separated within the exhibition space by doors and tarps from the former factory. This dispersed presentation raises the question of where we locate the "work," as an activity and as a product.As a book, Cure (the Work) is structured around a template drawn from the form of a paving stone produced throughout the exhibition. Book and brick are here identified according to their portability and serial logic. This paver's form becomes an internal frame for the book's image content. The latter comprises research and photographic documentation of the Ford factory during demolition. The rhythm of these images throughout the book is constrained to a printing on a single side of the paper running through the press, resulting in variably patterned sequences of two-page spreads punctuated by empty pages.This documentation and textual material at once situates CURE (the Work) within the context of this deindustrialized European city, and points beyond the site to its broader, encompassing logic and material conditions. Like the content of Lewitt's work, the form of the book is structured by the logic of mobility, standardization, and rationalization that a broader consideration of the local context in the midst of global economic machinations implies. This includes the mobility promised by the automotive industry, capital flight in search of low wages, labor's resulting immobilization as well as a critical self-reflection on global artistic culture and its relationship to economic and social transformation.Newly commissioned essays on Lewitt's work by art historians Annie Ochmanek and Andre Rottmann, as well as a discussion between architecture historian Felicity Scott and Sam Lewitt, moderated by Z33 curator Tim Roerig, contextualize the exhibition and book, pointing to its place within Lewitt's practice. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Paperback. Condición: New.

Paperback. Condición: Brand New. 136 pages. 7.20x5.20x0.30 inches. In Stock.

Softcover with dustjacket, unpaginated; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Paperback. Condición: New.

paperback. Condición: New.

Soft cover. Condición: As New. Unread book in Perfect condition.

503 pp.; 29.8 x 22 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held at the Martin-Gropius-Bau, Berlin, May 8 - July 25, 1993. Traveled to the Royal Academy of Arts and the Saatchi Gallery, London, September 16 - December 12, 1993. Edited and with essays by Christos M. Joachimides, Norman Rosenthal, with co-ordinating editing by David Anfam. Additional essays by Brooks Adams, Richard Armstrong, John Beardsley, Neal Benezra, Achille Bonito Oliva, Arthur C. Danto, Abraham A. Davidson, Wolfgang Max Faust, Mary Emma Harris, Thomas Kellein, Donald Kuspit, Mary Lublin, Karal Ann Marling, Barbara Moore, Francis V. O'Connor, Stephen Polcari, Carter Ratcliff, Irving Sandler, Wieland Schmied, Peter Selz, Gail Stavitsky, and Douglas Tallack. Artists include Carl Andre, Richard Artschwager, Jean-Michel Basquiat, Jonathan Borofsky, James Lee Byars, Alexander Calder, John Chamberlain, Joseph Cornell, John Covert, Stuart Davis, Willem de Kooning, Charles Demuth, Arthur Dove, Marcel Duchamp, Dan Flavin, Sam Francis, Robert Gober, Arshile Gorky, Dan Graham, Philip Guston, David Hammons, Keith Haring, Marsden Hartley, Eva Hesse, Gary Hill, Jenny Holzer, Edward Hopper, Jasper Johns, Donald Judd, Mike Kelley, Ellsworth Kelly, Franz Kline, Jeff Koons, Sol LeWitt, Roy Lichtenstein, Robert Mangold, Brice Marden, Agnes Martin, Robert Morris, Gerald Murphy, Bruce Nauman, Barnett Newman, Georgia O'Keeffe, Claes Oldenburg, Jackson Pollock, Martin Puryear, Robert Rauschenberg, Man Ray, Ad Reinhardt, James Rosenquist, Mark Rothko, Edward Ruscha, Robert Ryman, Julian Schnabel, Richard Serra, Charles Sheeler, Cindy Sherman, David Smith, Frank Stella, Clyfford Still, James Turrell, Cy Twombly, Bill Viola, Andy Warhol, and Lawrence Weiner. Includes exhibition checklist, a list of artists in the exhibition, biographies of the artists, selected bibliography, author biographies, and an index of names. Text in English. Good. 5.5 cm. dog-ear to bottom right corner of recto and 9.5 cm. crease to top right corner of recto with bumping of corners. Light yellowing of pages. Contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.…

Paperback. Condición: new. Paperback. A graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.A graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.CURE (the Work) is a graphic extension of Sam Lewitt's 2021 exhibition at Z33 House of Contemporary Art, Design and Architecture, Belgium.Lewitt's exhibition departs from the recent closure and demolition of Ford Genk, formerly a major employer in the region. As Ford Genk was undergoing demolition, the new wing of Z33 was under construction in the nearby city of Hasselt. CURE (the Work) retools elements of the demolished factory, as well as two manual earth ramming presses compacting soil extracted from the Ford site, recasting the galleries at Z33 as a production line for interlocking compressed earth blocks: a low-cost building material designed for self-help housing in so-called developing countries, as well as practitioners of small-scale ecological self-sufficiency. Each stage in the brick production process-compressing, curing, and stacking-is separated within the exhibition space by doors and tarps from the former factory. This dispersed presentation raises the question of where we locate the "work," as an activity and as a product.As a book, Cure (the Work) is structured around a template drawn from the form of a paving stone produced throughout the exhibition. Book and brick are here identified according to their portability and serial logic. This paver's form becomes an internal frame for the book's image content. The latter comprises research and photographic documentation of the Ford factory during demolition. The rhythm of these images throughout the book is constrained to a printing on a single side of the paper running through the press, resulting in variably patterned sequences of two-page spreads punctuated by empty pages.This documentation and textual material at once situates CURE (the Work) within the context of this deindustrialized European city, and points beyond the site to its broader, encompassing logic and material conditions. Like the content of Lewitt's work, the form of the book is structured by the logic of mobility, standardization, and rationalization that a broader consideration of the local context in the midst of global economic machinations implies. This includes the mobility promised by the automotive industry, capital flight in search of low wages, labor's resulting immobilization as well as a critical self-reflection on global artistic culture and its relationship to economic and social transformation.Newly commissioned essays on Lewitt's work by art historians Annie Ochmanek and Andre Rottmann, as well as a discussion between architecture historian Felicity Scott and Sam Lewitt, moderated by Z33 curator Tim Roerig, contextualize the exhibition and book, pointing to its place within Lewitt's practice. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Condición: New.

Paperback. Condición: New.

Paperback. Condición: New. Artists on Artists Lecture Series.