jasper johns 1930 (14 risultati)

Publisher's cloth (with two minute and insignificant smudges to front cover), pictorial dustjacket (very fine). New York, The Museum of Modern Art / MoMA, 2014. Large 8vo. 72 pages (some folding). Richly illustrated in black & white and colour. Published to accompany the eponymous exhibition held at The Museum of Modern Art, New York, 15th March-1st September 2014. In June 2012, Jasper Johns encountered a photograph of the painter Lucian Freud reproduced in a Christie's auction catalogue. Inspired not only by the photographic image, but also by the physical qualities of the object itself, Johns then created 16 paintings, drawings and prints, each laying bare the cycle of dead ends and fresh starts. - - - (Publisher:) "This catalogue documents Jasper Johns's most recent body of work, a cohesive group of two paintings, ten drawings, and two prints created over the last year and a half. In June 2012, Johns encountered an old photograph of the artist Lucian Freud reproduced in an auction catalogue. In the picture, Freud sits on a bed, holding his right hand to his forehead in a gesture of weariness or despair. Johns was inspired not only by this scene but also by the damaged appearance of the photograph itself. In the months that followed, he carried the image through a succession of permutations using a variety of mediums and techniques. The title and signature inscribed on most of the works - 'Regrets / Jasper Johns' - call to mind a feeling of sadness or disappointment. The words, however, are not without irony: Johns borrowed them from a rubber stamp he had made several years ago to decline the myriad requests and invitations that come his way. Seen as a whole, the series reveals the importance of experimentation in Johns's art, laying bare the cycle of dead ends and fresh starts, the way problems and solutions develop from one work to another, and the incessant interplay of materials, meaning, and representation so characteristic of his work over the last sixty years. 72 pages, with 72 color and black-and-white reproductions".

16 Seiten, mit vielen Abbildungen. - Beidseitig bedrucktes Deckblatt auf Mattglanz-Karton; 4to.(ca. 29,5 x 20,5 cm). *** 1. AUFLAGE, GROSSFORMATIGE BROSCHIERTE ORIGINALAUSGABE. - TADELLOSES EXEMPLAR. --- Viele weitere Monographien einzelner Künstler-innen des renommierten Lieferungswerkes im Bestand. . .

Publisher's cloth, pictorial dustjacket (spine lightly faded), fine. New York, The Museum of Modern Art, 1996. 30,5 x 23 cms. 408 pp. Richly illustrated, partly in colour. Chronology, bibliography and index. Published for an exhibition at the The Museum of Modern Art, New York, October 20, 1996-January 21, 1997.

Sewn as issued, pictorial wrapppers in colour. Very fine / as new. Provenance: Jeanette Bonnier (1934-2016). Basel, Kunstmuseum Basel, 1979. 8vo. 344 pp. Richly illustrated, partly in colour. The interview with Jasper Johns given in both German and English. Substantial catalogue for an exhibition at Kunstmuseum Basel (7 April-2 June 1979), Staatliche Graphische Sammlung München (19 June-5 August 1979), Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main (13 September-11 November 1979), Kunstmuseum Hannover mit Sammlung Sprengel (25 November 1979-6 January 1980), and Den kongelige Kobberstiksamling Statens Museum for Kunst København (19 January-16 March 1980).

loose_leaf. Condizione: Ottimo (Fine). Pieghevoled'invito alla mostra presso la Multicenter Grafica, Milano, 16 gennaio 1973. Design Giulio Confalonieri . Cm 22,5x10,5. . . Ottimo (Fine). . . . Book.

Sewn as issued, pictorial wrappers. Very fine. Provenance: Jeanette Bonnier (1934-2016). New York, Harry N. Abrams, 1977. 4to. 248 pp. Richly illustrated, partly in colour. With a printed additional leaf giving additions and corrections as well as a Revised Exhibition Schedule.

paperback. Condizione: Molto buono (Very Good). Catalogue of the exhibition in New York, The Jewish Museum, February 16 - April 12, 1964. Texts by Alan R. Salomon and John Cage. 28 illustrations in b/w . cm 21x24. pp. 64. . Molto buono (Very Good). . . . Book.

4°. 57 S. mit 53 Abb. und 1 Original-Lithografie. OEngl.-Brosch. Ausstellungskatalog. - Text in Englisch. - Jasper Johns, Jr. (* 1930 in Augusta, Georgia) studierte von 1947 bis 1948 an der Universität von South Carolina, Columbia und von 1949 bis 1952 verbrachte er zwei Semester an der Schule für angewandte Künste in New York. Er arbeitete als Verkäufer in einem Buchladen, wo er Kontakte und Freundschaften mit Robert Rauschenberg, Rachel Rosenthal und dem Tänzer Merce Cunningham knüpfte und pflegte. Wie Rauschenberg gehörte er zum Kreis um John Cage, wobei er dessen Ideen in seine Kunst umsetzte. Bald verliess Johns den Buchhandel, um sich der Malerei widmen zu können. Seinen Lebensunterhalt verdiente er als freier Schaufensterdekorateur. Ab 1954 fand er die typischen Motive, die man heute mit Johns verbindet, wie die "Targets", die amerikanische Flagge, die Landkarte der Vereinigten Staaten, die Alphabete und die Zahlen. Johns ist ein vielseitiger Künstler, Schaufensterdekorateur, Maler, Plastiker, Bühnen- und Kostümbildner. Er gilt als Bahnbrecher der Pop Art. - Schönes Exemplar.

Condizione: Good. 4to. Original wraps. Curator's annotated copy with manuscript corrections and emendations. Unique copiey.OCLC Record Number 523496. Catalogue of the exhibition held February 16 to April 12, 1964.Bibliography: p. 61-63.64pp. New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. .Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital.".

100 : 150 mm. Brustbild zusammen mit zwei weiteren Künstlern von vorn.

4to. 1/2 p. Gedr. Briefkopf. Thanks for your letter and word of the Coenties Slip exhibition. I didn't see it, of course, haveing been preoccupied with my new studio here.".

Condizione: ACEPTABLE. [Un] Cartel antiguo original, representando la obra del artista americano Jasper Johns (n.1930), editado para una exposición del artista en el Ludwig Museum de Colonia.Johns es un pintor, escultor y grabador estadounidense cuyo trabajo está asociado con el expresionismo abstracto, el Neo-Dada y el arte pop.En varias ocasiones, las obras de Johns han ostentado el título de las más pagadas por una obra de un artista vivo. ["Museum Ludwig, Köln"] ; ["PUBLISHED BY MULTIPLA, PARMA, ITALY, 1987. JASPER JOHNS. EDINGSVILLE. 1965. O/C WITH OBJECTS, CM 173x311."] ; ["BY SIAE, ROME, 1987."] . (4) La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas. // Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 79'5x138.

Kunstpostkarte (Untitled 1990), von Jasper Johns eigenhändig signiert (dito : Fotodruck (1 p. 4 to, Titelseite der Pressemappe seiner Retrospektive in Köln 1997) mit seinem Motiv THREE FLAGS, eigenhändig signiert Euro 245,-).

New York, The Museum of Modern Art, 1971.Boîte en plastique blanche contenant le catalogue et un multiple original de Jasper Johns constitué d'une lithographie offset originale " Target ", ainsi que trois capsules de peinture et un pinceau destiné à colorier la cible et à la contresigner à côté de celle imprimée de l'artiste.Tirage de 22500 exemplaires. Très bel état.Boîtes Arc 76-77, exposé. (104431).