tuite diana (83 risultati)

Paperback. Condizione: As New. First Edition. New catalogue from Katz' most recent exhibition, with eight full color , full page plates of finished paintings and 12 full color, full page plates of charcoal and oil studies for the finished works. Includes the essay, "Subject to Reversal: The Recent Work of Alex Katz" by Diana Tuite. Brief note by Mark Krisco about the paintings on copyright page. ; Oblong 4to.

hardcover. Condizione: Very Good. Condizione sovraccoperta: Good. 2012; Maine; glossy paper covered boards with white titles; light edge and corner wear; dust jacket is edge worn and wavy; Interior is clean and unmarked; 4to - over 9 3/4" to 12" tall; 171 pages.

Softcover, unpaginated; good condition: ex-gallery library copy with call number on lower left corner of front cover, taped around bottom of spine; sticker and stamps on first page; no other internal marks. As is; fine reference copy. Foreign shipping may be extra.

First edition. Oblong softcover. Exhibition catalog for a show that ran June 19 through August 2, 2008. Features text by Diana Tuite. Includes 20 color illustrations and a checklist. A fine copy in French style wrappers.

Softcover, unpaginated; as new condition; clean and crisp; no internal marks.

Softcover, 64 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Hardcover. Condizione: 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.

Softcover, staple-bound, 48 pages; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Softcover, 64 pages, as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Wrappers. Condizione: Fine Condition. 64 pages 30 illustrations in color. Illustrated wraps. Published on the occasion of the exhibition from Bowdoin College Museum of Art, Brunswick, Maine April 8-July 11, 2010 and January 26-July 11, 2010. Figure List. Notes. Book.

Hardcover. Matte color-illustrated boards with the title printed in yellow font down a red spine. The front cover has the title debossed in white lettering. The free and pasted end pages are color illustrated. Pages: (8), 9-184. Profusely illustrated with many full-color images. "Best known for his wire sculptures, Hayward L. Oubre, Jr. (1916-2006), was an important Black American artist and educator, who has until now received little attention from scholars and museums. He created sculptures, paintings, and prints that tested the bounds of each of these mediums. These works share a previously untold history of American modernism rooted in the South. Academically-trained, Oubre worked with an everyday material - wire coat hangers - that led some early critics to associate his sculpture with folk art, despite wire rising to prominence as a material for modernist sculptors in this period. While making his art he also trained a subsequent generation of artists through his teaching, first at Alabama State College (now Alabama State University), from 1949 to 1965, and then at Winston-Salem State University, from 1965 to 1981, both Historically Black Colleges and Universities. Within Oubre's story is a history of Alabama art shaping American art that has never been written." Contents are as follows: Reflections by Oubre's family, friends, and collectors -- Uncrossed wires : miscegenation from the inside out -- A rich background : Hayward Oubre and the Iowa idea(L) -- Trees of learning : Hayward Oubre, Hale Woodruff, Selma Burke, and art education in Southern HBCUS -- Hayward Oubre : the painter -- Outside the lines -- Reflections by Oubre's former students. Structural Integrity / Katelyn D. Crawford -- Reflections By Oubre's family,k friends and collectors -- Perspective on Hayward Oubre / Mervin Anthony Green -- Meetings with a remarkable man / Carter B. Cue -- Discovering Hayward Oubre / Brenda and Larry Thompson -- Uncrossed Wires: Miscegenation from the Inside Out / Amalia K. Amaki -- Plates 1-13 -- A Rich Back ground Hayward Oubre and the Iowa Idea(L) / Diana Tuite -- Trees of Learning: Hayward Oubre, Hale Wodruff, Selma Burke, and Art education in Southern Hbcus / Rebecca L. Giordano -- Plates 14-30-- Hayward Oubre: The Painter / Shawnya L. Harris -- Outside the Lines / Marin R. Sullivan -- Plates 31-52 -- Reflections by Oubre's Former students -- A great Mentor makes Great Artists / Noah Jemisin -- The Legacy of H.L. Oubre / Floyd W. Coleman, Sir -- Mr. Oubre as My Teacher / Paul A. Gary -- Chronology / Hina M. Zaidi and Katelyn D. Crawford. VG-, bottom right corner considerably warped with boards crinkling from damage, otherwise excellent and still in plastic.

Hardcover. Condizione: 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.

Condizione: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Condizione: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Near Fine. PHOTOS (illustratore). 1st Edition. SOLID CLEAN BRIGHT AND UNMARKED A BEAUTIFUL TITLE PUBLISHED IN CONJUNTION WITH AN EXHIBIT AT THE COLBY COLLEGE MUSEUM OF ART ALL COLOR PLATES FOCUSING ON THE ARTISTS WORK IN THE 1950S FORWARD BY THE AUTHOR ESSAY / BIOGRAPHY BY KATY SIEGEL BOOK IS AS NEW IN BRIGHT COMPLETE JACKET.

Condizione: New. 216 pp., hardcover, new. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

Hardcover. Condizione: Fine. Leichte Risse. Alex Katz's long-standing fascination with dance and collaborations withrenowned writers and choreographers has yielded some of his most complexcompositions.

Hardcover. Condizione: As new. In shrinkwrap. Quarto. Hardcover. Quarter bound in blue cloth with illustrated boards. 214 pages : illustrations ; 28 cm. "A biographical, historical, and reflective look at painter Bob Thompson (1937-1966). This publication situates Thompson within expansive historical narratives, recovering more of the historical specificity of his milieu through varied perspectives and through the inclusion of some unpublished archival materials. Illustrated throughout with dozens of Thompson's colorful paintings and drawings, alongside comparative works"-.

Hardcover. Condizione: VG+. Matte color-illustrated boards with the title printed in yellow font down a red spine. The front cover has the title debossed in white lettering. The free and pasted end pages are color illustrated. Pages: (8), 9-184. Profusely illustrated with many full-color images. "Best known for his wire sculptures, Hayward L. Oubre, Jr. (1916-2006), was an important Black American artist and educator, who has until now received little attention from scholars and museums. He created sculptures, paintings, and prints that tested the bounds of each of these mediums. These works share a previously untold history of American modernism rooted in the South. Academically-trained, Oubre worked with an everyday material - wire coat hangers - that led some early critics to associate his sculpture with folk art, despite wire rising to prominence as a material for modernist sculptors in this period. While making his art he also trained a subsequent generation of artists through his teaching, first at Alabama State College (now Alabama State University), from 1949 to 1965, and then at Winston-Salem State University, from 1965 to 1981, both Historically Black Colleges and Universities. Within Oubre's story is a history of Alabama art shaping American art that has never been written." Contents are as follows: Reflections by Oubre's family, friends, and collectors -- Uncrossed wires : miscegenation from the inside out -- A rich background : Hayward Oubre and the Iowa idea(L) -- Trees of learning : Hayward Oubre, Hale Woodruff, Selma Burke, and art education in Southern HBCUS -- Hayward Oubre : the painter -- Outside the lines -- Reflections by Oubre's former students. Structural Integrity / Katelyn D. Crawford -- Reflections By Oubre's family,k friends and collectors -- Perspective on Hayward Oubre / Mervin Anthony Green -- Meetings with a remarkable man / Carter B. Cue -- Discovering Hayward Oubre / Brenda and Larry Thompson -- Uncrossed Wires: Miscegenation from the Inside Out / Amalia K. Amaki -- Plates 1-13 -- A Rich Back ground Hayward Oubre and the Iowa Idea(L) / Diana Tuite -- Trees of Learning: Hayward Oubre, Hale Wodruff, Selma Burke, and Art education in Southern Hbcus / Rebecca L. Giordano -- Plates 14-30-- Hayward Oubre: The Painter / Shawnya L. Harris -- Outside the Lines / Marin R. Sullivan -- Plates 31-52 -- Reflections by Oubre's Former students -- A great Mentor makes Great Artists / Noah Jemisin -- The Legacy of H.L. Oubre / Floyd W. Coleman, Sir -- Mr. Oubre as My Teacher / Paul A. Gary -- Chronology / Hina M. Zaidi and Katelyn D. Crawford.

Hardcover. grey boards w/ reflective silver illustrations. 135 pgs w/ color, bw illustrations. "Photo Revolution: Andy Warhol To Cindy Sherman nvestigate how and why the 1960s and '70s became a vital era for the ascension of photography to the status of fine art, arguing that critical to the acceptance of both Pop Art and fine photography was a newfound acceptance of multiples. Prior to Pop Art, art media that produced "copies," like in prints and photographs, were perpetually undervalued compared to "original" objects like paintings. However, with the appropriation of photo-based imagery by artists like Andy Warhol and Tom Wesselmann, Pop Art and photography developed a symbiotic relationship as Pop Art certified the aesthetic importance of photography through its appropriation. Using a variety of media derived mostly from the Worcester Art Museum's permanent collection, Photo Revolution: Andy Warhol to Cindy Sherman investigates Pop Art, Conceptual Art, and emerging photo-based art forms, primarily through the lens of photography. It seeks to illustrate how photographs leap from second-tier status to the driving force behind contemporary art production with the emergence of artists like Cindy Sherman, Nan Goldin, and Martha Rosler. The book will also illustrate how photography became entrenched in art production globally, as seen in the photomontages of British conceptual artist John Stezaker, conceptual work by Polish video artist and photographer Andrej Paruzel, and in the work of Japanese documentary photographer Hiromi Tuschida"--WorldCat. VG- (scuffs, scratches to boards; small bump & divet to lower edge. bump to upper spine w/ crease & creasing to spine edges; small bump & creasing to lower tail edge.

Condizione: New.

Hardback. Condizione: 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.

Condizione: As New. Unread book in perfect condition.

Hardback. Condizione: 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.

paperback. Condizione: Very Good. 2013. Fine and unread condition. Very light shelf wear to cover very slightly rubbed at corners else book is like new.

Condizione: New.

Hardcover. Condizione: new. Hardcover. A rich reconsideration of a short-lived but visionary voice in twentieth-century American painting and his enduring relevance Bob Thompson (19371966) came to critical acclaim in the late 1950s for paintings of unparalleled figurative complexity and chromatic intensity. Thompson drew upon the Western art-historical canon to formulate a highly personal, expressive language. Tracing the African American artists prolific, yet tragically brief, transatlantic career, this volume examines Thompsons outlier status and pays close attention to his sustained engagements with themes of community, visibility, and justice. As the contributors contextualize the artists ambitions and his unique creative process, they reposition Thompson as a predecessor to contemporary artists such as Kerry James Marshall and Kehinde Wiley. Featuring an array of artwork, and never-before-published poems and archival materials, this study situates Thompsons extraordinary output within ongoing dialogues about the politics of representation. A rich reconsideration of a short-lived but visionary voice in twentieth-century American painting and his enduring relevance Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover with dustjacket; 208 pages; new condition; still sealed in shrinkwrap; clean and crisp. Foreign shipping may be extra.

hardcover. Condizione: fine. Condizione sovraccoperta: near fine. Alex Katz (illustratore). Illustrated in color. 207 pages. 4to, green cloth, d.w. [Waterville]: Colby College Museum of Art/Prestel, (2015). A fine copy in a near fine dust wrapper.

Hardback. Condizione: New. Best known for his wire sculptures, Hayward L. Oubre, Jr. (1916-2006), was an important Black American artist and educator, who has until now received little attention from scholars and museums. He created sculptures, paintings, and prints that tested the bounds of each of these mediums. These works share a previously untold history of American modernism rooted in the South. Academically-trained, Oubre worked with an everyday material-wire coat hangers-that led some early critics to associate his sculpture with folk art, despite wire rising to prominence as a material for modernist sculptors in this period.While making his art he also trained a subsequent generation of artists through his teaching, first at Alabama State College (now Alabama State University), from 1949 to 1965, and then at Winston-Salem State University, from 1965 to 1981, both Historically Black Colleges and Universities. Within Oubre's story is a history of Alabama art shaping American art that has never been written. This new volume, and its accompanying exhibition, will begin to tell this story, laying the foundation for future projects on the work of Black artists in Alabama and the South.