art exhibition

Softcover. Canada, Vancover Art Gallery, 1st, 1984, Book: Good, Dust Jacket: None, 82 pages. Softcover with dust jacket. Light musty odor. Clean, tight copy otherwise. Black and white and color pictures throughout.

Hardcover. Ostfildern GR, Hatje Cantz, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 279 pages, illustrated in color and b&w. The work of Paul Klee (1879-1940) was deeply influenced by his passion for the theater. Throughout his life, the artist fervently attended theatrical performances, from the opera to puppet shows. Characters from plays or operas Hamlet, Falstaff, or Don Giovanni, for example populate his cryptic visual world. Various types of characters or theatrical elements, such as the clown or the mask, were firmly established themes in his pictorial repertoire. However, Klee primarily forged links between the theater and life, and in so doing, he took up the traditional theme of the world as a stage: people became actors or marionettes; theatrical events converged with scenes from everyday life. This publication sheds light on all of these aspects of Klee's captivation with the stage. A chronology reconstructs a panoramic view of his multifaceted experience with the theater. Selected works by contemporary artists make it clear that not only Klee was fascinated by the sharp-eyed perception of theatrical situations it is a topic that continues to engage artists even today. 394 plates, 212 in color. Clean copy. DOMESTIC SHIPPING ONLY.

Hardcover. Ostfildern GR, Hatje Cantz, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 280 pages. Color and b&w illustrations. This publication sheds light on all of aspects of Klee's fascination with the arts of the stage. A chronology gives a panoramic outline of his several encounters with the theater and a selection of works by contemporary artists makes it clear that Klee was not the only artist to be fascinated with the sharp-eyed perception of theatrical scenarios--the topic is one that continues to engage artists today. Notes: Published on the occasion of the exhibition at Zentrum Paul Klee and Palais des Beaux Arts, Brussels.

Softcover. New York, Museum of Modern Art, First Edition, 1987, Book: Very Good, Dust Jacket: None, 344 pages. Softcover published on occasion of the exhibition by the same title, touring various locations including the Museum of Modern Art, February 12 - May 5, 1987. Full page, full color and bw illustrations throughout. Frontis illustration, Twittering Machine, 1922. Light toning to spine. Otherwise clean, unmarked copy.

Hardcover. Ostfildern GR, Hatje Cantz, 1st, 2004, Book: Very Good, Dust Jacket: None, Hardcover, illustrated paper-covered boards; no dust jacket as issued. Photographs by Paul Pfeiffer. 80 pages with 35 four-color plates and 2 black-and-white plates. Essays (in German and English) by Valeria Liebermann and Stefano Basilico. Conversation with the artist (in German and English) by Thomas Ruff. Includes a list of works, biography, list of awards, exhibition history and publications. Clean copy.

Softcover. Boston, The Paul Revere Memorial Association, 1st pbk, 1988, Book: Very Good, Dust Jacket: None, Hardcover, pictorial black wrappers, 191 pages. Issued in conjunction with a 1988-1989 exhibition featuring the silver work of Paul Revere (1735-1818). With illustrated essays by Patrick M. Leehey, Janine E. Skerry, Deborah A. Federhen, Edgard Moreno, and Edith J. Steblecki. Includes a bibliography and many views of Revere's silversmithing capabilities. 236 b&w illustrations. Clean copy.

Hardcover. New York, Aperture, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, 144 pages. Hardcover with dust jacket. A very clean, unmarked copy with only minor wear to dust jacket. Black and white photographs throughout. A tight copy.

Hardcover. New York , Thames and Hudson, 1st, 2015, Book: Very Good, Dust Jacket: Very Good, 112 pages. Hardcover with dust jacket. Very clean, like new in publishers shrink-wrap. Louis Stettner is one of the last living members of the avant-garde New York School of photography of the 1950s, which challenged many of the long-accepted foundations of art form. His Penn Station series of the late 1950s represents some of his most important work, gathered here in a single form for the first time. The series is less a portrait of the building than a study of people at once in transit and in suspension. 

Hardcover. New York, Whitney Museum of American Art, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, 240 pages. Hardcover. Color and b/w illustrations throughout. Gilt titles to spine and front cover. Red fabric covered. Some age wear to dust jacket, otherwise very clean copy, bright pages. Previous owner signature on front flyleaf. Published to accompany an exhibition. From the front flap: "The photographs are presented to the greatest advantage in full-color plates and stunning tritone and duotone black-and-white reproductions. The 22 essays by leading historians, novelists, journalists, and environmentalists trace the shifting perceptions of the arid lands of the American West from a wide range of literary and scholarly perspectives.

Softcover. Buffalo NY, Albright-Knox Gallery, 1st, 2005, Book: Very Good, Dust Jacket: None, Softcover, 132 pages illustrated in color and b&w. Exhibition catalog for a show that ran January 29 through March 12, 2005. Text by Douglas Dreishpoon, Nancy Princenthal, and Eleanor Heartney. Clean copy.

Softcover. NY, Universe, 1st, 1998, Book: Very Good, Dust Jacket: None, Softcover, unpaginated (approx. 110 pages), illustrated in color throughout. A catalog for an exhibition organized by Peter T. Tunney which first ran in Milan in 1997. One-page Introduction by Beard, essay by Owen Edwards. Extremely scarce. Color illustrated wraps, like new condition.

Softcover. Austin, University of Texas Press, First, 1965, Book: Very Good, Dust Jacket: None, Softcover, 68 pages, profusely illustrated in b/w and color. Slight edgewear otherwise tight, clean copy.

Hardcover. Damiani, 1st, 2008, Book: Very Good, Dust Jacket: None, Hardcover, 162 pages. Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.

Softcover. Scranton, PA, Whitney Museum of American Art, 1st, 1960, Book: Very Good, Dust Jacket: None, Exhibition catalog. Approx. 115 pages. 91 B&W and color prints. Red pictorial cover with slight wear around edges and spine. Black marks on front endpaper and flyleaf, binding glue also visible. Previous owner marking (Evergood) on spine. Overall, a clean, nice copy.

Hardcover. NY, Harry N Abrams, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover, 210 pages, illustrated throughout in color and b&w. Faint foxing to edges and end papers. Clean, tight copy. 60 color plates, 53 BW illus., 47 sepia duotone, one fold-out. Considers the work of Modern Realist Philip Pearlstein (b. 1924). With a foreword by the artist, known for his "...larger-than-life nudes [posed] under a cold light, motionless and abstracted, in slashing diagonal compositions, often veering off the canvas entirely." Includes one page of notes, chronology and list of exhibitions, selected bibliography and index.

Softcover. New York , Allan Frumkin Gallery, 1st, nd (1983), Book: Very Good, Dust Jacket: None, Large softcover exhibition catalog, spiral bound. Six full-page color plates of paintings by the artist. Essay by Russell Bowman. Top corner has minor bump.

Softcover. Montclair NJ, Montclair Art Museum, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 98 pages, 41 color plates. Issued in connection with an exhibition held October 19, 2008 to February 1, 2009, Montclair Art Museum.

Softcover. Montclair NJ, Montclair Art Museum, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 98 pages, 41 color plates. Issued in connection with an exhibition held October 19, 2008 to February 1, 2009, Montclair Art Museum.

Softcover. Montclair NJ, Montclair Art Museum, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 98 pages, 41 color plates. Issued in connection with an exhibition held October 19, 2008 to February 1, 2009, Montclair Art Museum.

Softcover. Athens, GA, University of Georgia Museum of Art, 1st, 1970, Book: Very Good, Dust Jacket: None, Softcover. Unpaginated, 80 b&w images. Light edge wear to wrappers. Light foxing on rear cover. Else a clean, tight copy.

Hardcover. Cambridge MA, The MIT Press, 1st, 1990, Book: Very Good, Dust Jacket: Very Good, 362 pages, hardcover in a bright dust jacket. Generously illustrated account [435 b/w photo reproductions] of the photogrphy produced by various well-known Bauhaus associates such as Laszlo Moholy-Nagy, Lucia Moholy, T. Lux Feininger, Florence Henri, Herbert Bayer, and others during the mid-1920s and early 1930s. An invaluable compilation of images and information about the work of this dynamic group of artists, designers, photographers and their students who had such an important impact on Western aesthetics and culture throughout the subsequent decades of the 20th century.

Hardcover. US, The MIT Press, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Remainder mark on top page block. Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White.The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography.The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.

Hardcover. US, The MIT Press, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Remainder mark on top page block. Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White.The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography.The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.

Hardcover. New York, Flammarion, 1st English, 1997, Book: Very Good, Dust Jacket: Very Good, 263 pages, hardcover with dust jacket. Catalog of a traveling exhibition first held at the Museum of Fine Arts, Houston, Texas, subsequently held at various European museums. Translated from the French by Deke Dusinberre. Minor rubbing and fading to dust jacket, mostly to top edge. Slight bumping to corners. Unmarked. A clean and tight copy.