andy warhol the early work, Gebraucht (77 Ergebnisse)

Paperback. Zustand: Very Good. Comprehensive, authoritative, highly readable and generously illustrated, Herbert Read's text surveys modern painting from its roots in the work of Cezanne, through Cubism, Futurism, Surrealism and Dada in the early decades of the twentieth century and on to Abstract Expressionism in the 1950s. The works of Frank Stella, Richard Hamilton, Andy Warhol, Robert Rauschenberg and many others are discussed and analyzed by Caroline Tisdall and William Feaver in a lively final chapter that takes the story forward. This is an indispensable reference work that bears witness to the genius of Herbert Read - artist, poet and art historian. 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. Zustand: Very Good. King of Pop Art Andy Warhol is one of the greatest artists of all time. Rarely venturing into public without his camera and tape recorder, Warhol was a great observer and documentarist of the American social scene. Somewhere within the iconic images, carefully-made personae, star-studded milieu, million-dollar price tags and famous quotes lies the real Andy Warhol. But who was he? With Andy Warhol,Robert Shore unfolds the multi-dimensional Warhol, dissecting his existence as undisputed art-world hotshot, recreating the amazing circle that surrounded him, and tracing his path to stardom back through his early career and his awkward and unusual youth. After Warhol, nothing would be the same - he changed art forever. Find out how with his remarkable story. 'Lives of the Artists' is a new series of brief artists biographies from Laurence King Publishing. The series takes as its inspiration Giorgio Vasari's five-hundred-year-old masterwork, updating it with modern takes on the lives of key artists past and present. Focusing on the life of the artist rather than examining their work, each book also includes key images illustrating the artist's life. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Soft cover. Zustand: Very Good. No Jacket. 1st Edition. (FRM rack D)This essay takes a fresh look at Warhol's work in its totality and context. Crow looks beyond the public image to the power of the work in its concentration on the fundamental themes: the beauty of youth, material culture, time and death. Reproductions include early works from the 1950's and iconic work from the 1960s and 1970s (Publisher).

20x20 cm, brossura editoriale; pp. (4), una tavola a colori nel testo Ottimo.

Zustand: as new. New Haven : Yale University Press, 2014. Hardcover. 104 pp. Ills. - A survey of the decades-long legacy of American Pop Art, from the iconic works of the 1960s to contemporary art that innovatively revisits the movement's key themes Pop Art's influence continues to be felt more than a half century since its advent, as this engaging book deftly shows. Early Pop artists such as Roy Lichtenstein, Claes Oldenburg, and Andy Warhol adopted alternately critical, embracing, or ambivalent attitudes toward America's rapidly proliferating consumer culture and its representations. Key works by these artists are illustrated as the foundation for this look at the ongoing relevance of Pop Art and its interrogation of American culture into the 21st century. Following Pop's heyday in the early 1960s, new generations of artists have returned to the questions surrounding consumerism and media culture. Works made in the 1980s and 1990s by Jeff Koons, Barbara Kruger, Richard Prince, and others reveal new methods and visual strategies that addressed these issues in a much different political and social climate. The innovative work of younger contemporary artists such as Elad Lassry, Josephine Meckseper, and Ryan Trecartin demonstrates that commodity culture, display, and the cult of celebrity maintain a strong resonance and are critically examined by today's artists. The catalogue also includes short texts by several artists, curators, and art historians, including Josephine Meckseper, James Voorhies, Richard Meyer, and Hal Foster. Condition : as new copy. ISBN 9780300208733. Keywords : ART,

Paperback. Zustand: Very Good. "Superb.Gopnik persuasively assembles his case over the course of this mesmerising book, which is as much art history and philosophy as it is biography" Kathryn Hughes, The Guardian When critics attacked Andy Warhol's Marilyn paintings as shallow, the Pop artist was happy to present himself as shallower still: He claimed that he silkscreened to avoid the hard work of painting, although he was actually a meticulous workaholic; in interviews he presented himself as a silly naif when in private he was the canniest of sophisticates. Blake Gopnik's definitive biography digs deep into the contradictions and radical genius that led Andy Warhol to revolutionise our cultural world. Based on years of archival research and on interviews with hundreds of Warhol's surviving friends, lovers and enemies, Warhol traces the artist's path from his origins as the impoverished son of Eastern European immigrants in 1930s Pittsburgh, through his early success as a commercial illustrator and his groundbreaking pivot into fine art, to the society portraiture and popular celebrity of the '70s and '80s, as he reflected and responded to the changing dynamics of commerce and culture. Warhol sought out all the most glamorous figures of his times - Susan Sontag, Mick Jagger, the Barons de Rothschild - despite being burdened with an almost crippling shyness. Behind the public glitter of the artist's Factory, with its superstars, drag queens and socialites, there was a man who lived with his mother for much of his life and guarded the privacy of his home. He overcame the vicious homophobia of his youth to become a symbol of gay achievement, while always seeking the pleasures of traditional romance and coupledom. (Warhol explodes the myth of his asexuality.) Filled with new insights into the artist's work and personality, Warhol asks: Was he a joke or a genius, a radical or a social climber? As Warhol himself would have answered: Yes. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

loose_leaf. Zustand: Ottimo (Fine). Pieghevole della 881a Mostra della Galleria del Cavallino, Venezia, 22 marzo - 5 aprile 1980. Testo di Federico Bonndi. Con una illustrazione a colori (Shoe aof the evening, beautiful shoe) . 8vo. pp. 4. . Ottimo (Fine). . . . Book.

Illustrierte Originalbroschur. Zustand: Gut. Erstausgabe. 218, VII (2) Seiten mit vielen Abbildungen. 19,7 cm. Guter Zustand. - David Robbins (born 1957 in Whitefish Bay, Wisconsin) is an artist and writer who was one of the first to investigate the art world's entrance into the culture industry. For three decades, in artworks and writing David Robbins has promoted a frank, unapologetic recognition of the contemporary overlap between the art and entertainment contexts. His work Talent, eighteen "entertainer's headshots" of contemporary artists including Cindy Sherman, Jeff Koons, Jenny Holzer, Allan McCollum and others, is widely credited with announcing the age of the celebrity artist, and The Ice Cream Social (19932008), a multi-platform project comprising a TV pilot for the Sundance Channel, a novella, installations, ceramics, and performance, has been cited by curator Hans Ulrich Obrist as pioneering the "expanded exhibition." In its totality The Ice Cream Social represents an emphatically American version of some of the exhibition strategies employed by artists associated with relational aesthetics. Progressively evolving away from the prevailing model of the professional contemporary artist, in his books High Entertainment (2009) and Concrete Comedy: An Alternative History of Twentieth-Century Comedy (2011) he identified and advanced other categories of imaginative endeavor. In 2000 he withdrew from active participation in the art world in order to discover how his imagination performed when not formatted to produce art, and began using the term "independent imagination" in place of "artist." Subsequently relocating to Milwaukee he aligned his work with contexts and formats historically forsaken by the avant garde, positing the suburb as a frontier for art production and creating TV commercials for galleries. His work was featured in the 2014 Whitney Biennial.[1] Career: After attending Brown University, Robbins was employed in the early 1980s by Andy Warhol, George Plimpton, and Diana Vreeland, during which years he educated himself about art by interviewing emerging artists such as Richard Prince, Jenny Holzer, Keith Haring, and Allan McCollum. Robbins began exhibiting his art in the mid-1980s in New York, where he was closely associated with the neo-conceptual Gallery Nature Morte. In contrast to the Pictures generation (his immediate predecessors who maintained a critical distance from the mass advertising and entertainment imagery that fascinated them), Robbins pioneered an approach to art that unapologetically embraced entertainment culture.[2] His first solo exhibition, The David Robbins Show (1986) featured "guest" collaborators such as Richard Prince, Clegg & Guttman, and Jennifer Bolande.[3] He gained wider recognition for photographic works such as Talent and The Art Dealers' Optical Tests (1987), which treated the art context as material for comedy.[4][5][6] He actively promoted what he termed the "comic object"an object made with sophisticated comic rather than aesthetic intent. In later works such as The German Reunification Public Sculpture Competition (1991) and The Ice Cream Social (19932008), Robbins looked at political content through a comic lens.[7][8][9] In other works of the same period, such as the Situation Comedies (19942003), he emptied his comedy of all narrative and topicality, creating objects that explored comedy as a subject in itself. Robbins is also known for the theory and practice of what he refers to as "alternatives to art." Concrete Comedy is his term for a kind of non-fiction comedy of objects and gestures that surfaced in the early decades of the 20th century, first evidenced in the work of German comedian Karl Valentin and French artist Marcel Duchamp, and was subsequently recurringly manifested culture-wide, in fashion, architecture, music, film, television, art, advertising, and design.[10] In November 2006 Robbins' "Concrete Comedy" essay appeared in Artforum magazine.[11][12] From 19962006 he taught a course in the subject at T.

Softcover. Zustand: g. First edition. Quarto. XII, [2], 144, [2]pp. Original illustrated wrappers. Frontispiece. Prepared in 1974 for an exhibit at the Whitney with a section about artists, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Larry Rivers, Andy Warhol, and prints by the other artists represented. A remarkable overview of pop art as response to our age of advertisement, and what technology allowed artists to do in the early 1970s. The section on sign and object puts words to feeling human presence in objects suspended from any sense of connection to them, yet allowing the viewer to find a new way to respond. This work is profusely illustrated with numerous b/w and color photographic reproductions. Moderate sunning and soiling along edges of wrappers. Very minor age-toning along paper margin. Wrappers in overall fair to good, interior in good+ condition.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Near Fine. First edition. Quarto. 277pp. Illustrated. Fine in a near fine dust jacket with short tears and slight creasing on the edges.

First edition. An introduction by Tina S. Fredericks titled "Rembering Andy." An look at the early days and work of Warhol. Profusely illustrated. A very good plus copy in cardboard boards that have a a couple sticker shadows and some minor edge wear. Still, a very presentable copy.

4to. pp. x, 278. profusely illus. in b/w, some colour. cloth. dw. (worn with tears, chips & rubbing to extremities, some loss of surface on lower rear cover with some surface scratches). First American Edition.

Zustand: Sehr gut. Exhibition Kat. No. 267. 159 S.; zahlr. Abb. Gebraucht, aber sehr gut erhalten. - Text englisch. - Introduction by Museum Director David Elliott -- Moderna Museet - Forty Years -- Highlights from the Collection of Moderna Museet by Nina Öhman (Painting and sculpture); Carl-Fredrik Harleman (Video and film);Henrik Orrje (Film); and Leif Wigh (Photography) // The Moderna Museet, Sweden's principal museum of national and international modern art. was first opened in 1958. Since then its collection has been steadily built up into one of the world's finest. Consequently, it has outgrown its original premises. This guide celebrates the opening of the new purpose-built gallery, designed by Rafael Moneo, and contains extended commentaries and full-page colour illustrations of over 75 key works from the museum's permanent collections. An introductory essay and illustrated chronology from Moderna Museefs director. David Elliott, charts the colourful history of Moderna Museet and the progress of the new building. From the early 1960s the Museum has had an illustrious history of special exhibitions highlighting such movements as Kinetic Art, American Pop Art and Post-Modernism. as well as the work of such brilliant individuals as Paul Klee. Robert Rauschenberg, Andy Warhol and Bill Viola. However, the major focus is on the Moderna Museefs collection of painting, sculpture, photography and film and video. Nina Öhman, curator of the collection at the Moderna Museet. has written the accompanying information on each painter's and sculptor's life and work, with contributions from Carl-Frederik Hârleman. Henrik Orrje and Leif Wigh for the film and video and photography entries. Quotes by either the artists themselves or their contemporaries are included to place each work in its context. This major new title in the Scala series is a fitting tribute to the past 40 years of a museum that is at the forefront of developments in contemporary art. (Klappentext) ISBN 185759178X Sprache: Deutsch Gewicht in Gramm: 800 Fadengehefteter Originalpappband mit Schutzumschlag.

Vintage reference photograph from the 1968 film, showing actress Geneviève Waïte. From the collection of artist and author Duncan Hannah. Duncan Hannah was a key figure in the burgeoning New York underground arts scene, befriending Andy Warhol and his superstars, Lou Reed, Allen Ginsberg, Patti Smith, Salvador Dali, and many others. A graduate of the Parsons School of Design, his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat, and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art. A teenage art student arrives in Swinging London, where she meets a host of colorful characters and begins exploring casual sex. Includes an early performance from Donald Sutherland as the terminally ill Lord Sanderson. Nominated for the 1968 Palme d'Or at Cannes, which was called off in solidarity with protests at the time. Set and shot on location in London. 10 x 8 inches. Near Fine. BFI 1062.

Tabloid. Zustand: Good. Side folding tabloid newspaper. 20 pp. Black and white illustrations and comix throughout. East Village Other was an underground newspaper from New York (duh), known for its early embrace of the counterculture and counterculture aesthetics, often using absurdist pieces to provide social commentary. As an early proponent of the underground comix movement, EVO published work by R. Crumb (not in this issue) and others, as well as publishing a paper devoted to comix. This issue with the usual movement, music, drug and counterculture musings, as well as an article describing the Miss All American Camp Beauty Pageant, being a pageant featuring drag queens competing in a variety of events similar to the Miss America pageant. The judges panel included Andy Warhol, Jim Dine and others, and the event was the subject of the 1968 documentary, Queen. Also present is a piece on police crashing the human be-in, tips for avoiding the draft for the Vietnam War, etc. GOOD condition. Horizontal fold crease present. Moderate toning. Mailing label on the upper front cover. Small tear on the lower edge.

Zustand: Gut. 134 Seiten; zahlr. Illustr.; graph. Darst.; 28 cm; fadengeh. Broschur. Sehr gutes, sauberes Exemplar. - Vorwort von Walter Hopps. - Englisch. - This book is published on the occasion of the exhibition Andy Warhol Death and Disasters, presented at The Menil Collection, October 21, 1988 - January 8, 1989. (Impressum) // Andy Warhol (* 6. August 1928 in Pittsburgh, Pennsylvania[2]; 22. Februar 1987 in Manhattan, New York City; eigentlich Andrew Warhola) war ein amerikanischer Künstler, Filmemacher und Verleger sowie Mitbegründer und bedeutendster Vertreter der Pop Art in Amerika. Seine Karriere begann bereits in den 1950er Jahren als Grafiker und Illustrator für Mode-, Hochglanz- und Lifestylemagazine und entwickelte sich schnell. Er hinterließ ein umfangreiches Gesamtwerk, das von Werbegrafiken bis zu Gemälden, Objekten, Filmen und Büchern reicht. Zudem war er auch als Musikproduzent tätig. . (wiki) // " . Despite their initial lack of popularity, the high proportion of these works relative to his overall output, would seem to underscore their importance for Warhol. His choice of subjects ranges from the personal focus of individual suicide, to the banality of everyday disasters, death by socially-determined execution, the historical death of political assassination, and culminates in the greatest instrument of destruction this century has produced. Warhol's fascination with death is a striking twentieth-century manifestation of a mode that flourished within Romanticism, from Poe in America in the early nineteenth century to the later French Symbolists. For Warhol, a preoccupation with the macabre involved detachment and distance. However, the horror of death and the flesh's ruination that fixated Poe and the Symbolists is not poetically invoked by Warhol, but taken as is, documented in a moment whose banality is mediated by its particularities. Taking violent death as an ever-present subject, he has suffused it with the idiosyncrasies of the photographed moment. The explicitness of death and societal disaster in Warhol's work avoids the generic, the paraphernalia of allegory or sentimental genre. With an eye for the eccentricity of an individual event, Warhol's paintings capture the unpredictable choreography of death. In his introduction "Painting Death in America" and the extended entries throughout this book, Neil Printz has examined the historical genesis of the Death and Disasters as a body of work, and analyzed Warhol's themes and techniques. Extended plate entries reveal the sources for many of Warhol's images. In his text, "J F K," Remo Guidieri explores the complexities of our society's over-saturation with decontextualized images, centering his philosophical reflections on a major historical event, an American president's assassination. . " (Vorwort) // INHALT : Foreword by Walter Hopps ------ Painting Death in America by Neil Printz ------ Poems and Images of Death by Gerard Malanga and Andy Warhol ------ J F K by Remo Guidieri ------ Plates ------ Chronology ------ Bibliography ------ Lenders to the Exhibition ------ Acknowledgements ------ Credits. ISBN 0940619032 Sprache: Englisch Gewicht in Gramm: 1000.

Hardcover. Zustand: New in publisher's shrink wrap. First edition. Quarto. 304pp. Original gray cloth with b/w photo laid to debossed frame on cover with white lettering on spine. Printed belly-band. "In 1976 critic Nancy Foote wrote that "for every photographer who clamors to make it as an artist, there is an artist running a grave risk of turning into a photographer." Transversing the fine line between artists who are photographers and artists who use photography. The Last Picture Show traces the development of Conceptual trends in postwar photographic practice from their first glimmerings in the 1960s in the work of artists such as Bernd and Hilla Becher, Bruce Nauman, and Edward Ruscha to their rise to art world prominence in the work of the Picture Theory artists of the late 1970s and early 1980s, including Silvia Kolbowski, Richard Prince, and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the exhibition includes a wide array of works by Vito Acconi, John Baldessari, Gilbert  George, Yves Klein, Barbara Kruger, Gordon Matta-Clark, Charles Ray, Jeff Wall, Andy Warhol, William Wegman, and others." (Publisher).

Tabloid. Zustand: Good. Side folding tabloid newspaper. Front cover an image of an electric chair produced by Andy Warhol. 24 pp. Black and white illustrations and comix throughout. East Village Other was an underground newspaper from New York (duh), known for its early embrace of the counterculture and counterculture aesthetics, often using absurdist pieces to provide social commentary. As an early proponent of the underground comix movement, EVO published work by R. Crumb, Trina Robbins (neither in this issue) and others, as well as publishing a paper devoted to comix. This issue with front art by Andy Warhol; two brief statements by Abbie Hoffman and Rick Rubin, along with the announcement of the death of the Yippies and the birth of the Youth International Party; news on the trial of the Black Panther 21 in New York, theater, etc. GOOD condition. Horizontal fold crease present. Moderate toning. Paper a bit brittle. Mailing label present.

Basel. Kunsthalle. ANDY WARHOL Abstracts. Edited by Thomas Kellein. 82 pp. with around 43 full-color and 8 b&w illustrations. Folio, wraps. with French folds. New York, Prestel, 1993. . This catalogue documents the abstract paintings Warhol created between 1977 and 1986, and includes a selection of stills from his early films. The accompanying text includes an essay on the techinques of warhol's abstract art and its relationship to the rest of his work.

Paperback. Zustand: Gut. 100, 123, 98, 135, 126, 105, 122 p., mostly pictures and fotos, Good condition. Cover very slightly worn. -- Contents: Febr. 1982: Solidarnosc, by Lawrence Weschler -- Bop Art, by Glenn O'Brien -- Forged Image Centerfold by Andy Warhol -- Portrait of Andy Warhol by Christopher Makos -- Issey Miyake: Sewing a Second Skin -- Juke Joint Jazz, by Marie Cosindas -- Paradise and Lunch: Advertising's Architecture of Heaven, by Bazon Brock -- Altered States.: Newspaper Photographs , by Harold Evans -- Vulgar Modernism, by J. Hoberman -- let X=X: a record and its jacket by Laurie Anderson -- Books: Richard Flood on Hardboiled America -- Reviews, from New York, Chicago, Los Angeles, London, -- Liverpool, Rome, Bologna, and Paris. -- Nov. 1984: Doctor Lawyer Indian Chief: " 'Primitivism' in 20th Century Art" at the Museum of Modern Art in 1984, by Thomas McEvilley -- Sign on a Truck, by Jenny Holzer -- Campaign 1984, by Alison Gardner Pratt -- Terry Winters' Earthly Anecdotes, by Prudence Carlson -- Naming Pictures: Conversations between Lee Krasner and -- John Bernard Myers, by John Bernard Myers -- In the American Grain: Robert Helm, by James Ivory -- Tracking Some Angles: A Talk with Alain Resnais, by Frederic Tuten -- Poets and Art: John Ashbery, Tony Towle, Ann Lauterbach, and Barry Schwabsky interviewed by John Yau; with poems by Michael Brownstein, Ashbery, Towle, Lauterbach, Schwabsky, and Rene Ricard -- Hilton Kramer: An Appreciation, by Thomas Lawson -- Books: Lionel Lambourne on The Collected Letters of William Morris -- Forum: Philosophy and Art: Elective Affinities in an Arranged Marriage, by Donald Kuspit -- Bruce Springsteen: In Your Heart You Know He's Right, by Greil Marcus. -- Dec. 1984: Max Beckmann Is Still in Exile, by Kenneth Baker -- Climbing Up a Ramp to Discover German Art, by Annelie Pohlen -- Steven Campbell: The Case of the Waggling Leg, by Stuart Morgan -- Eluding Definition, by Kate Linker -- Mozart, Puccini, Bizet, and McLaren, by Glenn O'Brien. -- Oct. 1985: ON LOCATION -- A studio made en plein air. James Nares reaps the wind in golden green. INGRID SISCHY -- 6 -- MARGINALIA -- The original sin. -- THOMAS McEVILLEY -- 7 -- LIKE ART -- Docu-Ads. Marketing realism in 30-second spots. -- GLENN O'BRIEN -- TURNED OUT -- Courreges in a snit. Sprouse in a spot. St. Laurent in an art book. Originals knocked off, knocked down, and the mental life of apricots. -- WILLIAM WILSON -- MODERN LIFE -- Security check for image hostages. Read this or else. CARTER RATCLIFF -- ROUND UP -- Architects take leave of their senses; Arata Isozaki takes his along. -- HERBERT MUSCHAMP -- THE CAVE -- The celluloid cannot hold. Did you see who Alexis kissed last night? -- WOLFRAM SCHUTTE -- SPEAKER TO SPEAKER -- The Slits, 1977: why they still don't make sense. -- GRE1L MARCUS -- - BOOKS -- Wiping up after Bataille. The perils of intellectual sanitation. DONALD KUSP1T -- SLANT -- Art jockeying in the Sistine Discos. -- GLENN O'BRIEN -- A BRUSH WITH THE REAL -- Bertrand Lavier painting in the light of everyday. -- GERMANO CELANT -- THE WORLD AND ITS TRADITIONS OR THE TRADITION OF THE WORLD -- Lothar Baumgarten inspects the values declared by customs. DENYS ZACHAROPOULOS -- VERNON FISHER AT HOME ON THE RANGES -- The critics and the sparrows. -- SUSAN FREUDENHEIM -- JAPANT-GARDE JAPANORAMA -- The art of mutual misunderstanding. -- J. HOBERMAN -- NON-UMENTS -- The all-consuming quakes of Gordon Matta-Clark. -- JUDITH RUSSI KIRSHNER -- PROJECT -- With a note by Manuel J. Borja. -- ANTONI TAPIES -- MISTY CHANNELS -- Stephen McKenna's arcadias, allegories, and dead nudes. -- LISA LIEBMANN -- PROJECT -- The raw and the coiffed. -- CINZIA RUGGER1. -- Nov. 1985: ON LOCATION -- Robert Ryman's studio. A wall of reminders. -- AMY BAKER SANDBACK -- GROUNDUP -- SCIENCE FICTION, WESTERNS, ODYSSEYS, ROMANCE, HEADLINES, obits. Narrative architects design the city as it lives. Stories on top of stories. -- A plot on every plot. -- HERBERT MUSCHAMP -- REMOTE CONTROL -- Television, the permanent guest-we'll be right back. BARBARA KRUGER -- MODERN LIFE -- Double lives. Paintings in trench coats. -- CARTER RATCLIFF -- SPEAKER TO SPEAKER -- The new pop mainstream. One star per customer GREIL MARCUS -- LIKE ART -- Like Albers. Consistent. -- GLENN O'BRIEN -- BOOKS -- Raymond Camey's study of John Cassavetes, American Dreamer-asleep on the job. CARRIE RICKEY -- AN EDITING ROOM OF ONE'S OWN -- The films of Margarethe von Trotta. -- WOLFRAM SCHUTTE -- LIGHT-YEARS -- James Turrell's Roden Crater. Photographs of the work in progress, with a note by Jeff Kelley -- BETWEEN ATLAS AND SISYPHUS -- Matt Mullican's world. -- GERMANO CELANT -- CLIFFHANGING -- Gerhard Merz crossing over high myths. -- INGRID REIN -- A GRAVE SITUATION FOR -- MARCEL BREUER'S WHITNEY -- Style wars. -- JOSEPH GIOVANNINI -- pOPTOMETRY -- Ripples on Yasgur's pond. -- CARLO McCORMICK -- MORE GOLDEN THAN GOLD -- The angelic antagonist. -- THOMAS McEVILLEY -- HOPES AND DOTS -- An interview with Mario Nigro. -- LISA LICITRA PONTI. -- Dec. 1985: ON LOCATION -- Cindy Sherman's camera kabuki. -- INGRID SISCHY -- MARGINALIA -- Who will occupy the deep space in recent painting? -- THOMAS McEVILLEY -- THE CAVE -- Claude Lanzmann's film Shoah (Annihilation) and the ethics of reconstructing the Third Reich. WOLFRAM SCHUTTE -- GROUND UP -- Timesharing. -- HERBERT MUSCHAMP -- OBJECT -- Duchampian chance and poetry in Japanese-language word processors. The Bride's (flower) Stripped Bare by her Bachelors, Even. -- SEIGOW MATSUOKA -- MODERN LIFE -- History is still bunk. -- CARTER RATCLIFF -- LIKE ART -- Station breaks. The electronic vaudeville circuit. -- GLENN O'BRIEN -- MASSCULTURE -- All the news that's Jit to snapshoot. -- SHINICHIRO KURIMOTO -- SPEAKER TO SPEAKER -- Beyond the grave, rock critic Theodor Adorno meets the Mekons. GREIL MARCUS -- THE WORLD IN A DROP OF WATER -- Georgia O'Keeffes vision has never been wider than in her early watercolors. -- KENNETH BAKE.

Paperback. Zustand: Very Good. First Edition. Wraps. Tall narrow 8vo. Trendy in appearance with blue thin plastic covers printed orangey red over abstract photo by Michael Dillon. No date (1967). Stiff plastic spine with 18 page catalogue printed recto only on 3 different coloured papers. Short introduction by John Fowles ('Only Connect.') Foreword by the covers illustrator Tom Adams whose gallery this was. It was showing the work of poet / artists like Michael Horowitz and Asa Benveniste and established artists like Prunella Clough, Carel Weight and John Bratby. The first item listed in the unillustrated catalogue was an oil by Adams 'The Magus.' Adams did the jackets for Fowles first 3 books as well as many Agatha Christie works. A rare ephemeral item lacking from most Fowles collections. A search on the web revealed the following: 'In 1967 Adams opened the Fulham Gallery, which not only gave first exhibitions of some now famous artists, but was for several years the center of the late '60's phenomenon - the poetry print. With C.Day-Lewis (the Poet Laureate) and artist Joseph Herman and John Piper, Adams produced the investiture print for the Prince of Wales. Adams also designed posters for Mark Boyle's light shows (The Sensual Laboratory), going on tour with The Jimmy Hendrix Experience and The Soft Machine. His connection with the modern world of rock music continued when he met Lou Reed, an admirer of his Christie and Raymond Chandler covers. Reed asked Adams to design the cover for his first UK solo album. As a result of this friendship with Lou Reed, Andy Warhol offered to sponsor of exhibition of Tom's work in New York. Adams did eventually work in the States in the early 70's where he was asked by Marshall Arisman to teach at the New York Central School of Art.' Very good indeed.

Gebundene Ausgabe. Zustand: Sehr gut. Gebraucht - Sehr gut SG - leichte Beschädigungen oder Verschmutzungen, ungelesenes Mängelexemplar, gestempelt, Versand Büchersendung - A radical re-evaluation of American modernismThe importance of American artists in the history of modern art is well-known and well-documented, from Jackson Pollock to Mark Rothko and Andy Warhol. However, the work of such artists did not spontaneously appear after World War II, nor was it simply transplanted from Europe. There is a longer, subtler history of the development of modernism in relation to American artists, as well as teachers, patrons and collectors, which can be traced through the first half of the twentieth century. William C. Agee's analysis includes artists working in the first half of the century, such as Arthur Dove, Stuart Davis, Charles Demuth, Marsden Hartley, Georgia O'Keeffe, and John Marin, as well as a discussion of the continuity between this period and the artists who went on to become celebrated internationally, such as Arshile Gorky, Edward Hopper, Helen Frankenthaler, Willem de Kooning, Morris Louis, Robert Rauschenberg, Jasper Johns and Donald Judd. Agee also integrates the work of certain European artists who became central to modern American art. Paul Cézanne, Henri Matisse, Marcel Duchamp and Piet Mondrian as well as Josef Albers and Hans Hofmann became influential teachers (and eventually American citizens), impacting strongly on the likes of Stuart Davis and many others, who have not necessarily been compared or connected to the European art canon previously. As a radical re-evaluation of art history from the early twentieth century to the late 1960s, this brilliant new account of American modernism is a must-read for students and scholars of art as well as all those interested in modernism and its wider cultural history.

Hardcover. Zustand: Very Good Plus. First Edition. Octavo, 9.2 in. X 6.3 in., pp. 127, [1]. Illustrated with photographs and drawings. Padded pink plastic covers with locking diary latch. No key (latch is unlocked). Light rubbing to covers. Warhol superstar Candy Darling was born into an alcoholic household in Queens, N.Y. where she lived with her mother after her parents' divorce. Darling, who was assigned male at birth, spent hours watching and studying old movies on TV,and impersonating her favorite actresses. This behavior that made her an outcast even in her own home where her mother confronted her over rumors that she wore women's clothes; rumors she did not deny. With milky white skin and large brown eyes Candy was, indeed, a natural beauty. She began getting hormone injections and frequenting Manhattan gay bars. By 1967, she had assumed the name Candy Darling and was starring alongside Jackie Curtis and a young Robert DeNiro in Curtis' play 'Glamour, Glory, and Gold'. One night Andy Warhol came to see the production and promptly cast her and Curtis in his film 'Flesh' (1968). Feeling movie stardom was destined, Darling was crushed when she was not cast in 'Myra Breckinridge' (1970). Though she found bit-parts in mainstream films, it was in the vibrant underground world where Candy Darling became a superstar. She portrayed a central character in Warhol's 'Women in Revolt' (1971) and appeared in such independent films as 'Brand X' (1970) and 'Some of My Best Friends Are.' (1971), where she portrayed a victim of trans-bashing. She also appeared on stage in several plays, including being cast by Tennessee Williams's to star in his work 'Small Craft Warnings' (1972). Darling was immortalized in music, most notably by Lou Reed and the Velvet Underground in the rock classics 'Walk on the Wild Side' and 'Candy Says,' and in the Rolling Stones' 'Citadel.' Along with Jackie Curtis and Holly Woodlawn, Candy Darling emerged in the late 60s/early 70s as a bold and outrageous "transsexual" superstar of the youth-quaking underground, blazing a trail for greater transgender visibility and acceptance in the future. She died of Lymphoma on March 21, 1974 at the age of 29. (from Legacy Project Chicago).

Hardcover. Zustand: Very Good Plus. First Edition. Octavo, 9.2 in. X 6.3 in., pp. 127, [1]. Illustrated with photographs and drawings. Padded pink plastic covers with locking diary latch. Still wrapped in plastic; unopened with key attached, Warhol superstar Candy Darling was born into an alcoholic household in Queens, N.Y. where she lived with her mother after her parents' divorce. Darling, who was assigned male at birth, spent hours watching and studying old movies on TV,and impersonating her favorite actresses. This behavior that made her an outcast even in her own home where her mother confronted her over rumors that she wore women's clothes; rumors she did not deny. With milky white skin and large brown eyes Candy was, indeed, a natural beauty. She began getting hormone injections and frequenting Manhattan gay bars. By 1967, she had assumed the name Candy Darling and was starring alongside Jackie Curtis and a young Robert DeNiro in Curtis' play 'Glamour, Glory, and Gold'. One night Andy Warhol came to see the production and promptly cast her and Curtis in his film 'Flesh' (1968). Feeling movie stardom was destined, Darling was crushed when she was not cast in 'Myra Breckinridge' (1970). Though she found bit-parts in mainstream films, it was in the vibrant underground world where Candy Darling became a superstar. She portrayed a central character in Warhol's 'Women in Revolt' (1971) and appeared in such independent films as 'Brand X' (1970) and 'Some of My Best Friends Are.' (1971), where she portrayed a victim of trans-bashing. She also appeared on stage in several plays, including being cast by Tennessee Williams's to star in his work 'Small Craft Warnings' (1972). Darling was immortalized in music, most notably by Lou Reed and the Velvet Underground in the rock classics 'Walk on the Wild Side' and 'Candy Says,' and in the Rolling Stones' 'Citadel.' Along with Jackie Curtis and Holly Woodlawn, Candy Darling emerged in the late 60s/early 70s as a bold and outrageous "transsexual" superstar of the youth-quaking underground, blazing a trail for greater transgender visibility and acceptance in the future. She died of lymphoma on March 21, 1974 at the age of 29. (from Legacy Project Chicago).

822 pages, 1,497 colour and black & white illustrations. Hardback in box ISBN: 9780714875606. This two-book addition to The Andy Warhol Catalogue Raisonné persuasively demonstrates the subversive core of Warhol's art. Intent on radical departure from his portraiture in the early seventies, Warhol's production gradually became anything but 'just faces'. From portraits of athletes and self-portraits to his Skull and Hammer and Sickle series, the Torso and Sex Parts paintings, and his abstract Piss, Oxidation, and Cum canvases, volume 5 showcases Warhol's work as powerful, and provocative as ever. Text in English. Catalogue raisonné.

Hardback, 267x210mm, 88p, 39 colour illustrations, English edition . ISBN 9791092599107. Bert Timmermans I Exorcising the Metropolis is composed of eight series totalling forty-three works, forty in mixed media on cardboard, and three in serigraphy and mixed media on aluminium, all created from 2013 to 2015. One work, independent from the aforementioned series, is in serigraphy on paper. The exhibition is accompanied by an 88-page illustrated hardback catalogue featuring an interview of the artist conducted by the Belgian audio-visual expert, writer, journalist and film director, Henri Roanne-Rosenblatt, Dean of the Office of the Royal Belgian Film Archive and member of the Union of Film Critics. Bert Timmermans, born in 1976, is a Belgian artist, art historian, archivist, historian and author living and working in Antwerp. He received his doctoral degree in art history from the Catholic University of Leuven. His practice is rooted in the tradition of pioneering early twentieth century cultural theorists and archival image archeologists Aby Warburg and Walter Benjamin, who studied the nexus between iconology and media, image and history. Timmermans? art deals with the stratification of history, its memory and amnesia, along with all of its replete as well as void spaces, and how these metamorphose reality. He is fascinated with the concept of time and how it re-dimensions reality by depositing and removing strata on and from the collective memory. The stratification and removal of media from the pictorial surface, construction and de-construction, are at the heart of Timmermans? creative process. It is about adding, deleting and re-contextualising visual information. He telescopes the past through the present. Unlike his illustrious precursors Kurt Schwitters, John Heartfield, Alexander Rodchenko, Robert Rauschenberg, Roy Lichtenstein and Andy Warhol, Timmermans assembles archival, historical, not contemporary images. 0 g.

Basel. Kunsthalle. ANDY WARHOL Abstracts. Edited by Thomas Kellein. 82 pp. with around 43 full-color and 8 b&w illustrations. Folio, wraps. Munich, Prestel, 1993. . This catalogue documents the abstract paintings Warhol created between 1977 and 1986, and includes a selection of stills from his early films. The accompanying text includes an essay on the techinques of warhol's abstract art and its relationship to the rest of his work. Text in German.

Sydney : Art Gallery of New South Wales, 2017. Edited by Nicholas Chambers, Text by Blake Gopnik. Quarto, illustrated boards, pp. 248, illustrated. New copy. Explores the early phase of Andy Warhol?s art practice and his career in advertising between 1949 and 1961. With the backdrop of 1950s New York and its burgeoning advertising industry, Adman focuses on the formative years of one of the 20th century?s most influential artists, Andy Warhol. Essays by Warhol scholars and other experts in their fields provide surprising insights into the beginning of Warhol?s career, from his award-winning work as a commercial illustrator through to his first, little?known exhibitions. With more than 150 illustrations including rare drawings and photographs, vintage advertisements, artist books, photographs and archival material, Adman explores this early phase of Andy Warhol?s art practice and his career in advertising between 1949 and 1961. The typography of Warhol?s mother, Julia Warhola, is also featured.

Paperback. Zustand: Very Good. First Edition. Wraps. Tall narrow 8vo. Trendy in appearance with blue thin plastic covers printed orangey red over abstract photo by Michael Dillon. No date (1967). Stiff plastic spine with 18 page catalogue printed recto only on 3 different coloured papers. Short introduction by John Fowles ('Only Connect.') Signed at front 'John Fowles 1982.' Foreword by the cover's illustrator Tom Adams whose gallery this was. It was showing the work of poet / artists like Michael Horowitz and Asa Benveniste and established artists like Prunella Clough, Carel Weight and John Bratby. The first item listed in the unillustrated catalogue was an oil by Adams 'The Magus.' Adams did the jackets for Fowles first 3 books as well as many Agatha Christie works. A rare ephemeral item lacking from most Fowles collections. A search on the web revealed the following: 'In 1967 Adams opened the Fulham Gallery, which not only gave first exhibitions of some now famous artists, but was for several years the center of the late '60's phenomenon - the poetry print. With C.Day-Lewis (the Poet Laureate) and artist Joseph Herman and John Piper, Adams produced the investiture print for the Prince of Wales. Adams also designed posters for Mark Boyle's light shows (The Sensual Laboratory), going on tour with The Jimmy Hendrix Experience and The Soft Machine. His connection with the modern world of rock music continued when he met Lou Reed, an admirer of his Christie and Raymond Chandler covers. Reed asked Adams to design the cover for his first UK solo album. As a result of this friendship with Lou Reed, Andy Warhol offered to sponsor of exhibition of Tom's work in New York. Adams did eventually work in the States in the early 70's where he was asked by Marshall Arisman to teach at the New York Central School of Art.' Very good indeed. Signedes.

First Edition. Red cloth with photo of Andy Warhol laid on to front board. In near fine condition. With b/w photographs. Text in both English and Chinese. Christopher Makos was Warhol's personal photographer and these images document a visit to China in the early 1980s, when the artist's work was not so well known. 86 pages. 375 x 260 mm (14¾ x 10¼ inches).