spector howard (17 resultados)

Hardcover. Condición: Good. light amount of wear on the cover of the book (scuff marks).

Hardcover. Condición: Near Fine. No Jacket. First Edition. 4to - over 9¾" - 12" tall. Near Fine condition, without dust jacket as issued. Clean interior. Little to no shelf or handling wear.

255 pp.; 25.5 x 20.8 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Issue 55 of Parkett, edited by Bice Curiger. Contents include: Editorial: "Pavel Pepperstein: The Artist as a Subculture," by Boris Groys; "Universal Wisdom at the Bewitching Hour on Private TV," by Rudolf Schmidtz; Ed Ruscha: "Ed Ruscha's Illuminated Manuscripts," by Jeff Perrone; "Critters Crave Salt," by Jennifer Higgie; "Ed Ruscha's Modern Language," by Howard Singerman; "White-Out," by Katja Schenker; "The Ballad of Ed Ruscha," by Joe Scanlan; Edition for Parkett: Ed Ruscha;" Andreas Slominski: "Berlin Detours," by Nancy Spector; "Mousedomes at the Periphery of Peopledom," by Patrick Frey; "Wordless," by Julian Heynen; a conversation between Bettina Funcke, Jens Hoffmann, and Boris Groys; Edition for Parkett: Andreas Slominski; Sam Taylor-Wood: "Sustaining the Antagonism. On "Five Revolutionary Seconds," by Elisabeth Bronfen; "Sliding.S-Sam Taylor-Wood's Invention of the Dialogue," by Francesco Bonami; "The Soliloquious Vision," by Ewa Lajer-Burcharth; Edition for Parkett: Sam Taylor-Wood. "Cumulous aus Europa," by Michelle Nicol; "Cumulous from America," by Suely Rolnik; "Garderobe:" "Artist's Monographs & Editions" "Editions for Parkett No. 55 (With Prices). Insert by Kara Walker. Spine No. 55-57 designed by Louise Bourgeois from "ODE A MA MERE," 1995, one of a series of 9 drypoint etchings. Text in English and German. Very Good / Fine. Light rubbing of cover edges, and light bumping of cover corners, otherwise Fine. Contents clean and unmarked. Due to large size and weight of this publication additional shipping charges will be required for international orders.

Condición: Good. 1st Ed. Good condition book with dust jacket. DJ is complete with a little edge wear and toning. Book has clean and bright contents.

OPp. Condición: Sehr gut. Dt. Lizenzausg. 192 S. : 15 graph. Darst. ; 24 cm tadellos E-03-01 9783769101126 Aufgrund der EPR-Regelung kann zur Zeit in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei. Bitte beachten Sie: Auf Grund der vorgegebenen Versandkosten von AbeBooks / ZVAB kann es bei Büchern über 1 kg oder bei mehrbändigen Werken zu höheren Versandkosten kommen. Please note: Due to the shipping costs specified by AbeBooks / ZVAB, there may be higher shipping costs for books over 1 kg or for multi-volume works. Sprache: Deutsch Gewicht in Gramm: 800.

Paperback. Condición: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

255 pp.; 25.5 x 20.8 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Issue 55 of Parkett, edited by Bice Curiger. Contents include: Editorial: "Pavel Pepperstein: The Artist as a Subculture," by Boris Groys; "Universal Wisdom at the Bewitching Hour on Private TV," by Rudolf Schmidtz; Ed Ruscha: "Ed Ruscha's Illuminated Manuscripts," by Jeff Perrone; "Critters Crave Salt," by Jennifer Higgie; "Ed Ruscha's Modern Language," by Howard Singerman; "White-Out," by Katja Schenker; "The Ballad of Ed Ruscha," by Joe Scanlan; Edition for Parkett: Ed Ruscha;" Andreas Slominski: "Berlin Detours," by Nancy Spector; "Mousedomes at the Periphery of Peopledom," by Patrick Frey; "Wordless," by Julian Heynen; a conversation between Bettina Funcke, Jens Hoffmann, and Boris Groys; Edition for Parkett: Andreas Slominski; Sam Taylor-Wood: "Sustaining the Antagonism. On "Five Revolutionary Seconds," by Elisabeth Bronfen; "Sliding.S-Sam Taylor-Wood's Invention of the Dialogue," by Francesco Bonami; "The Soliloquious Vision," by Ewa Lajer-Burcharth; Edition for Parkett: Sam Taylor-Wood. "Cumulous aus Europa," by Michelle Nicol; "Cumulous from America," by Suely Rolnik; "Garderobe:" "Artist's Monographs & Editions" "Editions for Parkett No. 55 (With Prices). Insert by Kara Walker. Spine No. 55-57 designed by Louise Bourgeois from "ODE A MA MERE," 1995, one of a series of 9 drypoint etchings. Text in English and German. Fine. New in publisher-issued shrink wrap. Due to large size and weight additional shipping charges will be required for international orders.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. First Edition. Size: Octavo (standard book size). Text body is clean, and free from previous owner annotation, underlining and highlighting. Binding is tight, covers and spine fully intact. No foxing in this copy. Dust Jacket is fully intact, no tears or chips, but carries signs of wear to top and bottom edges, corners etc. Dust Jacket un-clipped. All edges clean, neat and free of foxing. Quantity Available: 1. Shipped Weight: Under 1 kilogram. Category: Medicine & Health; All our pictures shown here are of the actual item, not stock photos. Inventory No: X20448. For further info on this title, click on the "Contact Seller" button within this listing. We will try to reply within 24 hours. Otherwise you can order right now (inclusive of shipping options) from the "Add to Basket" button to the right.

Paperback. Condición: New. The image of a tortured genius working in near isolation has long dominated our conceptions of the artist's studio. Examples are abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a 'factory', artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. "The Studio Reader" pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually - at the center of an art world that careens across institutions, markets, and disciplines.A companion for anyone engaged with the spectacular sites of art at its making, "The Studio Reader" reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.

Paperback. Condición: New. The image of a tortured genius working in near isolation has long dominated our conceptions of the artist's studio. Examples are abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a 'factory', artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. "The Studio Reader" pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually - at the center of an art world that careens across institutions, markets, and disciplines.A companion for anyone engaged with the spectacular sites of art at its making, "The Studio Reader" reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.

Condición: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

Condición: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

First edition. Hardcover. First printing. 159 pages. Features essays by Claudia Bohn-Spector, and Howard N. Fox. Includes numerous color illustrations, list of illustrations, list of previous exhibitions, selected bibliography, and artist's acknowledgments. A very near fine copy in illustrated boards. No dust jacket as issued. Signed and very nicely inscribed by Muller on the title page.

Paperback. Condición: New. The image of a tortured genius working in near isolation has long dominated our conceptions of the artist's studio. Examples are abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a 'factory', artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. "The Studio Reader" pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually - at the center of an art world that careens across institutions, markets, and disciplines.A companion for anyone engaged with the spectacular sites of art at its making, "The Studio Reader" reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good+. First Edition First Printing. NO CHIPPING & NO SPLITTING to CLEAN boards beautifully protected by presence of original colourful dustwrapper. Internally CLEAN with NO INSCRIPTIONS. TIGHT textblock. NO LOOSE & NO MISSING leaves. The dustwrapper is COMPLETE with NO LOSS. Normal wear to wrapper extremities. NOT PRICE CLIPPED. A Superior Fresh & Clean copy. Appears UNOPENED.

Paperback. Condición: New. The image of a tortured genius working in near isolation has long dominated our conceptions of the artist's studio. Examples are abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a 'factory', artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. "The Studio Reader" pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually - at the center of an art world that careens across institutions, markets, and disciplines.A companion for anyone engaged with the spectacular sites of art at its making, "The Studio Reader" reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit.

Oln. Gr.-8°, 192 S., - Tadelloses Exemplar.