9780847871469 - Alex Katz: Theater & Dance: The Art of Performance (28 resultados)

Hardcover. Condición: Very Good. No Jacket. 1st Edition. Pink and black boards, top half is fuzzy black, bottom is pink with legs! Two pink ribbon page markers. Interior is clean and bright, binding is tight.

Condición: As New. Unread copy in mint condition.

Hardcover. Condición: new. Hardcover. Alex Katz's long-standing fascination with dance and collaborations with renowned writers and choreographers has yielded some of his most complex compositions. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katzs work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. 'Id never seen anything like it', Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katzs most celebrated sets is the ensemble of cutouts he created for Kenneth Kochs 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz's working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s. Alex Katz's long-standing fascination with dance and collaborations with renowned writers and choreographers has yielded some of his most complex compositions. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: New. Brand New.

Hardcover. Condición: Good. No Jacket. Shelf and handling wear to cover and binding, with general signs of previous use. Clean pages. Binding is sound. Secure packaging for safe delivery.

Hardcover. Condición: Very Good. Minor shelf wear. Else a bright, clean copy. Alex Katz's long-standing fascination with dance and collaborations with renowned playwrights and choreographers yielded some of his most complex compositions. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same ?long tradition of gestures? as painting. This publication is the first to examine the many decades of Katz?s work for the stage, including the ways that he introduced tenets of postwar painting into theater and dance aesthetics. ?I?d never seen anything like it,? Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katz?s most celebrated sets is the ensemble of cutouts he created for Kenneth Koch?s 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz's working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s. .

Hardcover. Condición: Very Good. Hardcover has worn corners. Pages are bright and unmarked, solid binding.

Condición: New.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Condición: New. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katz s work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. I d never seen anything like it, Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katz s most celebrated sets is the ensemble of cutouts he created for Kenneth Koch s 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz s working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s.

Condición: As New. Unread book in perfect condition.

Hardback. Condición: New. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katz s work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. I d never seen anything like it, Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katz s most celebrated sets is the ensemble of cutouts he created for Kenneth Koch s 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz s working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. 2022. 1st Edition. Hardcover. . . . . .

Hardcover. Condición: New.

Condición: New. 2022. 1st Edition. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condición: Brand New. 256 pages. 10.00x8.00x1.25 inches. In Stock.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condición: New.

Condición: New.

Katz, Alex. ALEX KATZ: Dance & Theater: The Art of Performance. 256 pages, including 250 color plates. 4to, cloth. New York, Rizzoli, 2022. This publication is the first to examine the many decades of Katz's work for the stage, including the ways that he introduced tenets of postwar painting into theater and dance aesthetics, by bringing together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz's working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s.

Condición: New.

Hardback. Condición: New. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katz s work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. I d never seen anything like it, Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katz s most celebrated sets is the ensemble of cutouts he created for Kenneth Koch s 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz s working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s.

Hardcover. Condición: new. Hardcover. Alex Katz's long-standing fascination with dance and collaborations with renowned writers and choreographers has yielded some of his most complex compositions. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katzs work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. 'Id never seen anything like it', Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katzs most celebrated sets is the ensemble of cutouts he created for Kenneth Kochs 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz's working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s. Alex Katz's long-standing fascination with dance and collaborations with renowned writers and choreographers has yielded some of his most complex compositions. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Condición: New.

Hardcover. Condición: new. Hardcover. Alex Katz's long-standing fascination with dance and collaborations with renowned writers and choreographers has yielded some of his most complex compositions. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katzs work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. 'Id never seen anything like it', Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katzs most celebrated sets is the ensemble of cutouts he created for Kenneth Kochs 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz's working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s. Alex Katz's long-standing fascination with dance and collaborations with renowned writers and choreographers has yielded some of his most complex compositions. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardback. Condición: New. Since Alex Katz first painted the Paul Taylor in 1959, he has invited dancers to model for him. Dance, according to the artist, belongs to the same long tradition of gestures as painting. This publication is the first to examine the many decades of Katz s work for the stage, including the ways that he introduced tenets of postwar painting into theatre and dance aesthetics. I d never seen anything like it, Katz recalls of his first encounter with the work of dancer and choreographer Paul Taylor. The two partnered on fifteen productions for which Katz innovated with flat lighting, humorous obstacles, and framing mechanisms. His involvement with Paul Taylor led to collaborations with other companies including Yoshiko Chuma, Laura Dean, William Dunas, and Parsons. Among Katz s most celebrated sets is the ensemble of cutouts he created for Kenneth Koch s 1961 production, George Washington Crossing the Delaware. Katz heightened the absurdity of the Revolutionary War-inspired play with Pop-adjacent figures and props. This publication brings together paintings, sketches, costumes, photographs, film stills, and ephemera. Newly-commissioned essays, unpublished materials, and major paintings will provide an overview of Katz s working relationships with individual choreographers and shed new light on avant-garde collaborations in New York between the 1960s and 80s.