sonneman alan (9 risultati)

Condizione: acceptable. Fairly worn, but readable and intact. If applicable: Dust jacket, disc or access code may not be included.

Condizione: Acceptable. paperback 100% of proceeds go to charity! Acceptable reading copy with obvious signs of use, wear, and/or cosmetic issues. Item is complete and remains readable despite notable condition issues.

Condizione: good. This book is in good condition, with minimal signs of wear and tear.

Condizione: Good. SHIPS FAST. RESCUED + RENEWED. Clean pages, light wear, and a strong binding make this a reliable, quality Good+ copy, kept in circulation through our Book Sustainability Program. No access codes or CDs.

Paperback. Condizione: Brand New. 128 pages. 11.50x8.80x0.40 inches. In Stock.

paperback. Condizione: As New.

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

[45] pp.; 21.5 x 21.6 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held November 29 - December 20, 1975. Organized and with an essay by Jeffrey Deitch. The pages in the catalogue were prepared by the artists themselves or according to instructions given to Deitch by the artists. Pages of deceased artists designed by Deitch. There is no page for On Kawara. Artists include Vito Acconci, Laurie Anderson, Eleanor Antin, John Jack Baylin, Lynda Benglis, Terry Berkowitz, Joseph Beuys, Christian Boltanski, Jonathan Borofsky, Chris Burden, Scott Burton, Colette, Chris D'Arcangelo, Fernando de Filippi, Agnes Denes, Howard Fried, Gilbert & George, Peter Gordon, Guerrilla Art Action Group, Douglas Huebler, Ray Johnson, On Kawara, Nancy Kitchel, Bruce Kurtz, Les Levine, Anna Link, Marc Miller, Dennis Oppenheim, Adrian Piper, Marcia Resnick, Salvo, Joanne Seltzer, Willoughby Sharp, Alan Sondheim, Alan Sonfist, Eve Sonneman, Andy Warhol, William Wegman, Roger Welch, and Hannah Wilke. "Aside from the John Weber Gallery Invitational, a group show he curated in the summer of 1975, Lives was Jeffrey Deitch's first curatorial project. The theme of Lives was artists who deal with peoples' lives (including their own) as the subject and/or medium of their work. In more simplified terms (the subtitle of the exhibition): artists who use life as their medium. Much of the most exciting new art in the mid-1970s was performative. Lives was one of the first exhibitions to bring together the new generation of artists who fused life and art with artists like Joseph Beuys and Andy Warhol who inspired this new direction. The exhibition took place in an abandoned office building on the corner of Franklin and Hudson Streets in New York City. All of the artists were invited to create pages for the xeroxed catalogue which is now a collectors item. The following excerpt from the catalogue text amplifies the theme of the show: For the "Post-Conceptual" artists in the Lives exhibition, the most fertile area of art activity has become the investigation of the artist and his environment, and as an extension, the study of people in general in their confrontation with the creative decision-making process. The forces in peoples' lives that cause art to be created, and the questions about the relationship between art and life have always been of great importance to artists, but now they have a special meaning in terms of the esthetic progression beyond Formalism and the Formalist bias of the Minimal and Conceptual movements. The most interesting recent work refers not to the object itself, but to the forces that shape creative activity. As Dennis Oppenheim sings in the song that accompanies the spastic dance of his self-portrait marionette in the Lives show, "It ain't what you make, it's what makes you do it!" -- from Jeffrey Deitch Curatorial Projects website. Includes Piper's "Six Conditions on Art Production." Good. Moderate dust soiling and yellow soiling across covers. 12.6 cm. soiling (coffee) to bottom left area of recto. 10 cm. gentle fold to bottom right corner of recto. 1.5 cm. light dust soiling to bottom right corner of bottom right corner of title page. Yellow, green, and black soiling to verso. Soiling of text block edge with light dust soiling to top left corner of verso of pages. Contents otherwise clean and unmarked.

This print is on paper, and measures 19.75" x 37.5" Printed to promote and exhibition held at the Nourse Gallery in Washington, DC in May,1982 entitled "Premonitions of The Corporate Wars." There is a website devoted to this painting, with the following text: "The Last Washington Painting was painted in the winter of 1979 by Alan Sonneman while he was living in a studio at 11th and K st., NW in Washington, D. C. It depicts the infamous image of the atomic bomb test "Operation Crossroads" at Bikini Atoll in 1946 imposed upon the skyline of our nation's capitol as seen from the southern approach to the 14th Street Bridge with the Washington Monument at the center of the explosion. Painted in the waning day of the Cold War when the official policy of the United States Government was referred to as MAD (mutually assured destruction), it became the iconic image of the Nuclear Disarmament Movement in the 1980s. The painting was first exhibited at the Washington Project for the Arts on March 3rd, 1980 to wide acclaim. At that time it was featured on the front page of the Washington Post's Style section three times as well as twice in the Washington Star and many other publications. In 1981 it appeared in the exhibition, "Crimes of Compassion" at the Chrysler Museum, Norfolk, Virginia. In 1982 it was seen again at Norse Gallery, Washington D.C. for the exhibition "Premonitions of the Corporate Wars" and concurrently reproduced as a poster for an anti-nuclear rally in Central Park in New York City that drew a quarter million people. The painting was featured on the cover and a two-page centerfold in 1984 for Common Cause Magazine. After being held in a private collection for the intervening years, it reappeared in 2010 to be featured in an exhibition for the 35th Anniversary of the WPA at the Katzen Art Center at American University in Washington, D.C., a survey of the historic alternative exhibition space. Having lost track of its whereabouts, a search was undertaken to find it which was chronicled in a cover story in the Washington City Paper in July 2010.and once again received extensive coverage. Consequently, "The Last Washington Painting" has become one of the most recognized paintings in our Nation's Capitol in the last 50 years" VG++ Has always been stored flat for 43 years.