James johnson photographer (14 risultati)

Hardcover. Dust Jacket Included. First Edition. ISBN:0679421696, Hardback, 1st edition, Fine in a Near Fine DJ; trace of light wear to DJ and DJ edges, no names or internal markings, illustrated in color, 4to., 192 pages., 0.0 0.0 0.0.

Paperback. Condizione: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVery good used book, light creasing and wear. 679p. Wolfgang, Teri (illustratore).

Paperback. Condizione: Brand New. 96 pages. 8.90x8.03x0.47 inches. In Stock.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. English text. Hardcover book with dust jacket in VERY GOOD condition. Actual book is pictured. See images provided. Internally, the book is clean and unmarked. 142 pages. Color photographs by Fulvio Roiter.

Soft cover. Condizione: As New. Condizione sovraccoperta: None, As Issued. Special Edition. 1st Printing. 32 pages. Published in 2023. Exhibition Catalog. The first and only edition. Published in a small and limited print run as a softcover original only. None of the copies was sold commercially. There is no ISBN. The Exhibition Catalog is now rare. An austerely elegant production by Stephen Daiter Gallery: Regular-sized volume format. Pictorial softcovers, as issued. Photographs and text by Dawoud Bey. Printed on pristine-white, thick coated stock paper in the United States to the highest standards. The reproduction quality is exemplary in every respect. Without DJ, as issued. Published on the occasion of the exhibition of the same name held at Paris Photo from November 9 through 12, 2023. Presents Dawoud Bey's "Stony The Road". The third and final sequence of his American Slavery Project. It began with "Night Coming Tenderly, Black" and was followed by "In This Here Place". The present 16-plate sequence revisits the Virginia Slave Trail, which led to the hub of the vast slavery trade in Richmond, Virginia, where African men, women, and kids, held in animal cages, were transported, then sold off at auctions to their eventual white owners. Today, African-Americans (and whites) prefer to remember the "Happy Ending": The Underground Railroad, in sustained meditations in art, literature, music, and photography, because that was about heroic struggle, liberation, and freedom. The Virginia Slave Trail is - not just about - pure evil, an ineradicable stain in American history. In these ironically lyrical, serenely beautiful images of the James River and the Virginia Wild, Dawoud Bey reminds - and refuses to make us forget - where the slaves LITERALLY first set foot on American soil. The title comes from James Weldon Johnson's' great poem, "Lift Every Voice And Sing": "Stony the road we trod / bitter the chastening rod". Taken together, "Night Coming Tenderly, Black", "In This Here Place", and "Stony The Road", constitute a major American photographic achievement of our time. An absolute "must-have" title for Dawoud Bey collectors. This title is a contemporary art photography classic. As far as we know, this is the only copy of the Exhibition Catalog available online and is in especially fine condition: Clean, crisp, and bright. Please note: This is neither a full-fledged book nor a monograph. But it is an indispensable sequence in Bey's oeuvre, presented in its 16-plate entirety, beautifully produced. A rare copy thus. 16 Plates. One of the most brilliant American photographers of our time. A fine copy. (SEE ALSO OTHER DAWOUD BEY TITLES IN OUR CATALOG). no. …

flexibound. Condizione: Very Good. Oversized softcover. Bound in glossy pictorial paper. Cover is neat and tidy. Binding is tight and secure. Small sticker from previous owner on FFEP. Pages are crisp, clean, and bright. Images printed in color. 468 pages. University of Georgia Press. Copyright page dated 2009. A very good copy. This is an oversized book, so extra postage will be necessary for priority or international shipping. We ship everyday from a real neighborhood bookstore. This description is written by an actual person, who is holding the book in front of them to make sure it's properly described. Please contact us with questions or if you would like to see photographs.…

Hardcover. Condizione: Very Good. Dustjacket included. First Edition. ISBN 0866221980. Hardback. Very Good condition book, with minor bumps and rubs to cover corners and edges, slight dustsoiling along right edge of book, in a Very Good Condition dustjacket with minor small closed tears, chips, rubs and creases to edges. Tight, sound, unmarked copy. No statement of later printing on copyright page. Oversized. No Signature.…

hardcover. Condizione: New. In shrink wrap. Looks like an interesting title.

First edition, first printing (per Rizzoli's "First published . . ." statement and descending number line upon copyright page). 224 pages. Hardcover: H 28.5cm x L 22.25cm. Dust jacket lightly bumped at spine heel. Brown spine bumped at heel; dark olive green boards. Interior pages are bright and clean. Binding is firm. Laid-in at page 39 is undated (circa 2012) brief book review clipped from an unknown publication. Please note that this book has an approximate shipping weight of 4 pounds (1.81 kg) and may require additional postage for any postal class other than domestic Media Mail. ISBN 9780847838264.…

Paperback. Condizione: Brand New. 160 pages. 10.60x8.20x0.60 inches. In Stock.

Hardcover. Condizione: New. In shrink wrap. Looks like an interesting title.

Collection of 16 vintage photographs from the 1949 film, nine studio still photographs and seven promotional photographs of Paul Douglas, Linda Darnell, and Celeste Holm. Based on the story "Two Can Sing" (originally titled "Career in C Major") by James M. Cain, a story originally serialized in American magazine in 1938, then published in the 1943 collection "Three of Kind" (along with "Double Indemnity"). Leonard Borland (Douglas) indulges his wife Doris (Holm) in her ambition to becoming an opera star, renting her a concert hall, where he meets real opera singer Celia Carver (Darnell), who discovers Leonard has a wonderful baritone voice. 8 x 10 inches. Uniform fading on most, otherwise Near Fine.…

Five vintage borderless black and white photographs from the set of the 1967 film. With two printed mimeo snipes on the verso, along with the stamp of still photographer James Johnson. From the archive of the PIX Agency, a photo house that acted as an intermediary between emigre photographers (as well as those still living in Europe) and the American magazine and newspaper market between 1935-1969. Brooks' unflinching and unsentimental documentary style made for a visualization that matched the power of Truman Capote's most famous book, and remains one of the great meditations on violence in America. Nominated for four Academy Awards. 10 x 8 inches. Most Very Good plus, with light creasing and edgewear, one Very Good, with a tear to the top right corner, repaired with cello tape on the verso. National Film Registry. Ebert II. Criterion Collection 781. Penzler 101. Spicer US.…

Archive consisting of 70 original double-weight silver gelatin photographs. Forty-seven (47) measuring 8" x 10", and twenty-three (23) measuring 14" x 11". Many (though not all) bear the photographer's rubber-stamp on verso (James B. Johnson, 2200 Dennis Ave. Silver Spring, MD.), a few bearing brief holograph captions or codes in red and black ink. Light wear to extremities, subtle curling to the edges, and a few photos with tiny creases to the corners; overall, Very Good+. A substantial group of images documenting the April 4, 1970 "March For Victory" in Washington, DC. This march, and the victory marches that followed, were organized by the Rev. Carl McIntire (1906-2002) and his wife Fairy, who were fundamentalist ministers, radio evangelists, and founders of the International Council of Christian Churches (ICCC) and American Council of Christian Churches (ACCC). The April 4th march drew close to 50,000 protestors - the era's largest pro-war demonstration - and was stridently against the "Vietnamization" of the war, which McIntire viewed as a sign of retreat, and running away from America's duty to fight communism. The march was to take place from Capitol Hill, down Pennsylvania Avenue, and conclude at the base of the Washington Monument. "Rather than the usual college-age protesters, known for demonstrating against the war, the Victory March's attendees were largely middle aged and elderly, featuring contingents of World War I, World War II, and Korean War veterans as well as Cuban exiles and members of the National Socialist White People's Party.The demonstrators carried signs and banners saying "Nixon is a No-Win Swine," "In God We Trust," and "Marxism is Jewish," as well as Confederate and American flags and many wore "Wallace for President" hats.While the war was the main point of contention, the masses demonstrated for and against a plethora of other issues including support for prayer in school to stop bussing programs designed to desegregate schools, and just generally against "secular universities, and hippies and yippies everywhere" (Mednick, Avi. Blog post: "The Silent Majority Storm The National Mall." Boundary Stones: WETA's Local History Website, 03/02/2017). Georgia governor Lester Maddox was present and spoke at the rally at the Washington Monument; by the time he spoke, the counter-protesters who had been showing up all day outnumbered the Victory Marchers. The images in this archive capture both sides of the march. Carl and Fairy McIntire appear, holding a Bible and an American flag, with their followers and their children shown marching, carrying flags and signs, seated on the Washington Mall, and stomping on North Vietnamese flags. Numerous images of the counter-protesters are present, carrying signs, American and North Vietnamese flags, passing out flowers, dancing, a few covered in decorative paint and seated with instruments, with a number of photos showing hippies disrobing or fully naked, bathing in the reflecting pool in front of the Lincoln Memorial. We have been able to ascertain little about the photographer, aside from his name, and that he was a member of the Silver Spring Camera Club. A striking group of images, documenting the intersection of the "Silent Majority" and the anti-war movement. 81746.…