crescent moon publishing kent (13 resultados)

Paperback. Condición: Near Fine. Sculptors; B&W Photgraphs; 8vo 8" - 9" tall; 180 pages; 2010 Crescent Moon Publishing. Trade size paperback. Tightly bound and fresh in glossy pictorial covers. Contents clean, bright, and unmarked. Profusely illustrated with B&W photographs of Bracusi's work. Looks and feels unread and about as new. NF.

Paperback. Condición: Fine. 100, [33] pages of plates, illustrations; 25 cm. First published 1919. Tight, clean copy. Size: 8vo.

Soft cover. Condición: Fine. 150 pages, notes, bibl., ilus., ads.

Soft cover. Condición: Fine. Photos Ilustrador. First Edition-Stated. 123 pp + illus.

Paperback. Condición: new. Paperback. BLADE RUNNER: POCKET MOVIE GUIDE This book is a guide to the 1982 movie made from Do Androids Dream of Electric Sheep? by Philip K. Dick - Blade Runner. A thorough exploration of Blade Runner forms the core of the book, looking at the conception, production, themes, critical reception and influence of the 1982 Warner Brothers movie in every detail. Philip Kindred Dick (1928-1982) was a key figure in 20th century science fiction, famous for embracing drugs and the counter-culture in his work. Dick's fiction includes The Man In the High Castle, Flow My Tears, The Policeman Said, A Scanner Darkly, The Three Stigmata of Palmer Eldritch, Do Androids Dream of Electric Sheep?, Valis, The Divine Invasion, Martian Time-Slip, The Minority Report, and We Can Remember It For You Wholesale. Dick's themes included perception and reality, drugs, state control, global capitalism, surveillance, and paranoia. On its initial release, Blade Runner grossed $27 million in the United States, placing it no. 16 in that year's box office chart (it was released on June 25, 1982, in 1,290 theatres in the U.S.A.). 1982 was the year, of course, of E.T. The films that came in way behind Steven Spielberg's Universal fantasy were Tootsie at no. 2, An Officer and a Gentleman third, and Rocky 3 in fourth place. Other sci-fi and fantasy flicks in 1982 included Star Trek 2, Conan the Barbarian, Mad Max 2 and The Thing. Blade Runner is often trotted out as another big, important picture that flopped on its theatrical release. That isn't quite true, but it certainly wasn't a hit movie by any standards. The opening weekend was pretty good, but the movie seemed to fade away rapidly after that. Many reviewers and critics came out against Blade Runner on its first release, including Roger Ebert, Pauline Kael, Sheila Benson, and Janet Maslin. 'Muddled', 'gruesome', 'pretentious' and 'overheated' were some of the words used to describe it. Since then, Blade Runner has rightly achieved cult as well as classic status. Its influence on science fiction and sci-fi cinema has been enormous (this book looks at some of the movies inspired by Blade Runner, including Ghost In the Shell, Akira, Brazil and Batman). Fully illustrated. Pocket size. Bibliography, filmography and notes. ISBN 971861714251. BLADE RUNNER: POCKET MOVIE GUIDE This book is a guide to the 1982 movie made from Do Androids Dream of Electric Sheep? by Philip K. Dick - Blade Runner. A thorough exploration of Blade Runner forms the core of the book, looking at the conception, production, themes, critical reception and influence of the 1982 Warner Brothers movie in every detail. Philip Kindred Dick (1928-1982) was a key figure in 20th century science fiction, famous for embracing drugs and the counter-culture in his work. Dick's fiction includes The Man In the High Castle, Flow My Tears, The Policeman Said, A Scanner Darkly, The Three Stigmata of Palmer Eldritch, Do Androids Dream of Electric Sheep?, Valis, The Divine Invasion, Martian Time-Slip, The Minority Report, and We Can Remember It For You Wholesale. Dick's themes included perception and reality, drugs, state control, global capitalism, surveillance, and paranoia. On its initial release, Blade Runner grossed $27 million in the United States, placing it no. 16 in that year's box office chart (it was released on June 25, 1982, in 1,290 theatres in the U.S.A.). 1982 was the year, of course, of E.T. The films that came in way behind Steven Spielberg's Universal fantasy were Tootsie at no. 2, An Officer and a Gentleman third, and Rocky 3 in fourth place. Other sci-fi and fantasy flicks in 1982 included Star Trek 2, Conan the Barbarian, Mad Max 2 and The Thing. Blade Runner is often trotted out as another big, important picture that flopped on its theatrical release. That isn't quite true, but it certainly wasn't a hit movie by any standards. The opening Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Original softbound edition 365pp Illustrations A complete guide to Landscape,Environmental,Earthworks,Nature,Sculpture and Installation Art in The United Kingdom. FINE Copy.

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condición: new. Paperback. THE ART OF ANDY GOLDSWORTHY This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. The book has been completely rewritten and brought up to date for this new edition. Andy Goldsworthy makes land or earth art out of, among other materials, stacks of rocks, or stalks tied together, or mud thrown into rivers or poppy petals wrapped around boulders. His art is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth. Fully illustrated, with a revised text. Bibliography and notes. 348pp. ISBN 9781861714398. EXTRACT FROM THE CHAPTER ON GOLDSWORTHY'S LEAFWORKS It is the leafworks that are the most colourful of Andy Goldsworthy's sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another.Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. REVIEW ON AMAZON A happily received gift. It's worth the price for one who wants a scholarly while earthy (sorry, couldn't help it) approach to the work. There's a quirkiness about the writing style that is engaging and honest.I'm glad I have the book and will reread it as I purchase other books on Goldsworthy where the work is shown via great photography. REVIEW ON AMAZON This is a chatty informational book. It has stories of many artists that have been associated with Andy Goldsworthy in his long career as a contemporary nature sculptor. If you are looking for a personal history this is a book for you. REVIEW ON AMAZON I'm no expert on visual art, nor would I claim to be, but I found this to be a useful book, and the only one I've been able to find about the work of Andy Goldsworthy. The author has taken the time to round up a large amount of varied source material which makes this book well worth seeking out. This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hard Cover. Condición: Near Fine Plus. Later Edition. hard cover, illustrated boards., no flaws or wear. clean. no markings. tight binding. appears unused.; 230pp., illustrated throughout in b/w. Size: 8vo - over 7¾" - 9¾" tall.

Paperback. Condición: new. Paperback. THE ART OF ANDY GOLDSWORTHY This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. The book has been completely rewritten and brought up to date for this new edition. Andy Goldsworthy makes land or earth art out of, among other materials, stacks of rocks, or stalks tied together, or mud thrown into rivers or poppy petals wrapped around boulders. His art is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth. Fully illustrated, with a revised text. Bibliography and notes. 348pp. ISBN 9781861714398. EXTRACT FROM THE CHAPTER ON GOLDSWORTHY'S LEAFWORKS It is the leafworks that are the most colourful of Andy Goldsworthy's sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another.Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. REVIEW ON AMAZON A happily received gift. It's worth the price for one who wants a scholarly while earthy (sorry, couldn't help it) approach to the work. There's a quirkiness about the writing style that is engaging and honest.I'm glad I have the book and will reread it as I purchase other books on Goldsworthy where the work is shown via great photography. REVIEW ON AMAZON This is a chatty informational book. It has stories of many artists that have been associated with Andy Goldsworthy in his long career as a contemporary nature sculptor. If you are looking for a personal history this is a book for you. REVIEW ON AMAZON I'm no expert on visual art, nor would I claim to be, but I found this to be a useful book, and the only one I've been able to find about the work of Andy Goldsworthy. The author has taken the time to round up a large amount of varied source material which makes this book well worth seeking out. This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condición: new. Hardcover. KURT JACKSON A new book about the British landscape painter Kurt Jackson (b. 1961). This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated. EXTRACT FROM CHAPTER 4: One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea. Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too).So Jackson's Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. 'Have you ever wondered what's out there?' is a question that Kurt Jackson asks (it's the title of one of his major paintings, too - the centrepiece of the Porth series). Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks - just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What's Out There? (1999) - an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray. Kurt Jackson isn't that interested in many of the connotations of the ocean - the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He's not really interested in religious or pagan or magical symbols in that way. And he's not that interested in shipping, fishing, and all things maritime, like J.M.W.Turner was. But when Jackson asks a question like 'have you ever wondered what's out there?', and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn't apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes. Fully illustrated, with a revised text. Bibliography and notes. ISBN 9781861714480. Also available in hardback. REVIEWS ON AMAZON: A well- written and thoughtful book. * So useful to gain such insight into an artist's life and inspirations. KURT JACKSON A new book about the British landscape painter Kurt Jackson (b. 1961). This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated. EXTRACT FROM CHAPTER 4: One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea. Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of t Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Hardcover. Condición: new. Hardcover. KURT JACKSON A new book about the British landscape painter Kurt Jackson (b. 1961). This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated. EXTRACT FROM CHAPTER 4: One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea. Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too).So Jackson's Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. 'Have you ever wondered what's out there?' is a question that Kurt Jackson asks (it's the title of one of his major paintings, too - the centrepiece of the Porth series). Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks - just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What's Out There? (1999) - an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray. Kurt Jackson isn't that interested in many of the connotations of the ocean - the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He's not really interested in religious or pagan or magical symbols in that way. And he's not that interested in shipping, fishing, and all things maritime, like J.M.W.Turner was. But when Jackson asks a question like 'have you ever wondered what's out there?', and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn't apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes. Fully illustrated, with a revised text. Bibliography and notes. ISBN 9781861714480. Also available in hardback. REVIEWS ON AMAZON: A well- written and thoughtful book. * So useful to gain such insight into an artist's life and inspirations. KURT JACKSON A new book about the British landscape painter Kurt Jackson (b. 1961). This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated. EXTRACT FROM CHAPTER 4: One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea. Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of t Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Condición: new. Paperback. THE ART OF ANDY GOLDSWORTHY This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. The book has been completely rewritten and brought up to date for this new edition. Andy Goldsworthy makes land or earth art out of, among other materials, stacks of rocks, or stalks tied together, or mud thrown into rivers or poppy petals wrapped around boulders. His art is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth. Fully illustrated, with a revised text. Bibliography and notes. 348pp. ISBN 9781861714398. EXTRACT FROM THE CHAPTER ON GOLDSWORTHY'S LEAFWORKS It is the leafworks that are the most colourful of Andy Goldsworthy's sculptures. What the leaf sculptures show is how beautiful the colours of nature are: Goldsworthy shows the viewer these subtle colours by contrasting one leaf with another.Maple patch grouped the red/ orange/ yellow of Japanese maple leaves together; Poppy leaves contrasted the red poppy leaves against the mid-green of an elderberry bush; a Stone Wood sculpture of 1992 consisted of poppy leaves wrapped around a hazel branch, the red constrasting vividly with the wet green leaves; Dock Leaves interwove red leaves in green grass stalks. Two sycamore leafworks of 1980 and 1981 are very simple: a leaf black from cow shit is placed against pale Autumn leaves; another leaf, bleached white, is set down on a bed of dark leaves. He pins together two colours of sycamore leaves (sycamore is a favourite Goldsworthy medium) in Sycamore leaf sections (1988), and hangs the line of leaves from a tree. Shot with the sun behind them, the photograph of the leaves shows them glowing green and gold, the two classic colours of poetry and alchemy. REVIEW ON AMAZON A happily received gift. It's worth the price for one who wants a scholarly while earthy (sorry, couldn't help it) approach to the work. There's a quirkiness about the writing style that is engaging and honest.I'm glad I have the book and will reread it as I purchase other books on Goldsworthy where the work is shown via great photography. REVIEW ON AMAZON This is a chatty informational book. It has stories of many artists that have been associated with Andy Goldsworthy in his long career as a contemporary nature sculptor. If you are looking for a personal history this is a book for you. REVIEW ON AMAZON I'm no expert on visual art, nor would I claim to be, but I found this to be a useful book, and the only one I've been able to find about the work of Andy Goldsworthy. The author has taken the time to round up a large amount of varied source material which makes this book well worth seeking out. This is the most comprehensive and detailed study of British artist Andy Goldsworthy, and is the only full-length exploration of Goldsworthy and his art available anywhere. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.