art Modern

Hardcover. New York , Arts, Inc., 1st, 1961, Book: Very Good, Dust Jacket: Very Good, Hardcover, 164 pages, 128 illustrations, 57 in color, including many tipped-in. Bright dust jacket with price-clipped flap. Previous owner's signature on front fly leaf otherwise clean, very good.

Hardcover. NY, D.A.P./Distributed Art Publishers, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Hardcover in a slipcase, 192 pages. Transforming words into icons and images into wide-screen epics, Ed Ruscha has wholly reconceived the terms of painting for our era. Tagged variously as a Conceptualist, Pop artist or latter-day Surrealist, Ruscha flouts category, or rather incorporates all categories, always surprising and experimenting with both subject and method. His paintings are steeped in our times: cinema, advertising, logos, late capitalism and the twists and turns of postwar art have all informed his iconography since the early 1960s, arriving on the cool surfaces of his canvases with magnetic detachment. Ruscha eschews process and focuses exclusively on the final product: "the means to the end has always been secondary in my art," he has said. Ruscha has also reinvented the use of words in art, finding disquieting ways to invest language with a weird, throbbing, ambient static, never aspiring to what he calls "word gestures," since "each word is an excursion unto itself." Fifty Years of Painting focuses on Ruscha's majestic oeuvre of paintings. A magnificent publication, it comes housed in a slipcase that sports the artist's classic painting "Standard Station" (1966), and, alongside fantastic reproductions, it contains a preface by novelist James Ellroy, essays by Ralph Rugoff, Alexandra Schwartz and Ulrich Wilmes, a text by novelist Bruce Wagner, an interview with the artist by Kristine McKenna, an illustrated chronology and an exhibition history.

Hardcover. Hatje Cantz, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Harcover, 128 pages. Since his first road trip in 1956, driving from Oklahoma City to Los Angeles, Ed Ruscha has continued to muse on America as seen from the road: "I like being in the car, and seeing things from that vantage point," he has said. "Sometimes I give myself assignments to go out on the road and explore different ideas. My books are an example of that." Consisting of around 75 works spanning the artist's entire career, Ed Ruscha: Road Tested includes many of the famous aforementioned artist's books, including Twenty-Six Gasoline Stations, Real Estate Opportunities, Some Los Angeles Apartments, Thirty-Four Parking Lots and the groundbreaking artist's book Every Building on the Sunset Strip; some of Ruscha's most iconic paintings, such as the "Standard Stations" and the "Hollywood Signs," as well as paintings inspired by street names and road signs; and his exploration of the topography of greater Los Angeles in paintings that depict aerial grids of the city, as well as various southern California horizons and sunsets. Also examined here is the rarely seen Ruscha film Miracle (1975), which tells the story of a mechanic whose obsessive repair of the carburetor on a 1965 Mustang dooms his date with a beautiful woman. The first-ever treatment of a primary theme in the artist's career, Road Tested at last gives Ed Ruscha his own road show.

Hardcover. New York, Abrams/Whitney Museum, 1st, March 1, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 239 pages. 245 plates and figures, 95 bw and 150 color. Published in conjunction with an exhibition held at the Whitney Museum of American Art, April 3 to July 20, 2003. This book is the most comprehensive publication to date on the work of Elie Nadelman (1882-1946), an important sculptor and a key member of the New York art scene in the first half of the 20th century.

Hardcover. New York, The Museum of Modern Art, 1st, 2005, Book: Very Good, Dust Jacket: None, Hardcover, 236 pages, color illustrations. Like new in publisher's shrink-wrap. Elizabeth Murray has radically altered the structure of Modernist painting. Her shaped and constructed canvases, often topologically modeled in three dimensions or fitted together out of multiple jigsaw-like parts, treat figure and ground in unprecedented ways, giving the elastic shapes of classic Surrealism a space in their own image. The alternatively comfortable and cataclysmic world that her images depict would crack irrevocably if it followed Euclidean logic; instead; it constantly metamorphoses under stress. With a chaptered essay by Robert Storr, plate section, and in-depth interview, the book explores Murray's relation to artists such as Joan Miro, Stuart Davis, Claes Oldenburg and Frank Stella, as well as to the mainstream and opened up options for rising generations. This book accompanies the most detailed examination of Murray's art yet mounted, showing its development from Pop-oriented reliefs in the 1960s to the extraordinary volumetric of her recent work.

Softcover. Philadelphia Museum of Art, 1st, 1996, Book: Very Good, Dust Jacket: None, Softcover 215 pages. Many illustrations, 78 in full color. Published on the occasion of the exhibition from the National Gallery of Art, Washington DC September 22, 1996-January 26, 1997 and the Philadelphia Museum of Art, Philadelphia PA March 2-May 11, 1997. Still in publisher's shrinkwrap.

Hardcover. New York, Art in America/ Stewart Tabori and Chang, 1st, 1988, Book: Very Good, Dust Jacket: Very Good, Hardcover, 270 pages, illustrated throughout with 134 plates in full color. Essay by Peter Schjeldahl. Edited by David Whitney. Illustrated with reproductions of 77 of Fischl's oil paintings from 1980-1987, 35 of his works on paper, and 12 seminal glassines. Includes a selected bibliography. Minor edgewear to white pictorial dust jacket . Else a clean, tight copy.

Hardcover. Indianapolis, Indiana, Indianapolis Museum of Art, 1st, 2013, Book: Very Good, Dust Jacket: None, 160 pages. Hardcover no dust jacket. Color pictures throughout. Clean, unmarked copy with only minor wear to boards. Decoding Robert Indiana's work for a new generation, this revelatory book explores previously unknown autobiographical elements in the work of the Pop artist and printmaker. Famously proclaiming himself to be "an American painter of signs," Robert Indiana has created an enormous body of work, much of it boldly colored abstractions. In this incisive new examination of the artist, based on ongoing conversations with Indiana, art historian Martin Krause sifts through autobiographical clues within the artist's work and finds a wealth of affecting and affectionate references to Indiana's childhood, literary heroes, and the cultural icons of his generation. In addition, a penetrating essay by Pop art scholar John Wilmerding deconstructs Indiana's use of geometric shapes, making unexpected connections that enhance Krause's thesis. Accompanied by reproductions of more than 50 prints from the period 1960-2010--and focusing specifically on series such as Decade: Autoportraits, Vinalhaven Suite, and The Hartley Elegies as well as the "Love" and "Hope" images and studies of Marilyn Monroe, Picasso, and the Brooklyn Bridge--Krause's decryption of Indiana's visual language provides telling insight into the work of this quintessentially American artist.

Hardcover. New York, Harry N. Abrams, 1st, 1976, Book: Very Good, Dust Jacket: Very Good, Hardcover, 173 pages, 125 illustrations, including 48 tipped-in color plates. In blue tweed covers with gilt lettering, errata slip laid in. There is a brighter sticker shadow on front panel of dust jacket where the rest of the white has age-toned. A clean, bright copy.

Hardcover. New York, St. Martins Press, 1st Edition, 1985, Book: Very Good, Dust Jacket: Very Good, 338 pages. Hardcover. Black & white illustrations throughout. Bright dust jacket with only minor wear. Light foxing to edges. Otherwise clean unmarked copy.

Hardcover. New York , Crown, 1st US, 1993, Book: Very Good, Dust Jacket: Very Good, Hardcover, 354 pages, color & black and white plates. In a bright, unclipped dust jacket. Traces the development of the painter's art and the course of his life, discussing his earliest memories, Sinn Fein uprisings in Ireland, World War I, Paris of the surrealists, and England during World War II.

Hardcover. San Diego, Museum of Contemporary Art San Diego, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, 79 pages, 56 illustrations 50 in color. Published on the occasion of the exhibition from January 17-March 28, 1999. A previously unpublished interview with Francis Bacon by the author from August 13, 1973. Includes acknowledgments, checklist, and chronology.

Hardcover. NY, Abrams, 1st, Book: Very Good, Dust Jacket: Very Good, Hardcover. VG/VG printed mylar jacket, some foxing to top and edge of text block, else a clean solid copy of the first edition, with no later printings indicated. Book design by Robert Motherwell. Illustrated cloth boards with clear plastic DJ with minor soil, 272 pages, 53 color and 152 BW plates, one fold-out. Mostly plates by American artist Helen Frankenthaler (1928-2011), with some interspersed text by Barbara Rose; also includes a biographical outline and selected bibliography. A fairly comprehensive collection of her work from 1951-1969. DUE TO SIZE AND WEIGHT, This is a heavy and oversized book and will require extra shipping. International customers please ask for a shipping quote before purchasing.

Softcover. NY, André Emmerich Gallery, 1st, 1990, Softcover with deckle fore-edge. Oblong format. 12 full page images in color printed on rectos only, captions on versos. Exhibition April 26 - May 19, 1990 of 14 works (two of which were not illustrated). Laid in is a price list with works sold. Clean copy.

Softcover. Berkeley CA, Snow Lion Graphics, 1st, 1993, Book: Very Good, Dust Jacket: None, 128 pages. Softcover. Color pictures throughout. Light edgewear to wrappers. A volume of the art work of Stanley Mouse, creator of numerous posters for rock venues in the 60's and other counter culture works, as new, full color illustrations.

Softcover. Denver/Boulder CO, Johnson Books, 1st, 2005, Book: Very Good, Dust Jacket: None, Softcover, 272 pages, illustrated in color and b&w. Chanzit explores Herbert Bayer's stunning artistic legacy, which includes painting, photography, typography, sculpture, architecture, exhibition design, and graphic design.

Hardcover. NY, The Museum of Modern Art, 1st, 1961, Book: Very Good, Dust Jacket: Very Good, 154 pages, hardcover with dust jacket. The works and writings of the Futurist artists in their most creative period, 1910-1916. 141 Illustrations (22 in color). Tanning to wraps, light edgewear. Mild foxing to top edge text block. Unmarked. A clean and tight copy.

Hardcover. Washington DC, The PhillipsCollection/D Giles Ltd , 1st, 2015, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 176 pages in color. Features rnot-often-seen examples of modern art. with works by Edouard Manet, Pierre-Auguste Renoir, Paul Cezanne, Claude Monet, Vincent van Gogh, Paul Gauguin, Marc Chagall, Pablo Picasso, Amedeo Modigliani, Georges Rouault, Alexej von Jawlensky and Wassily Kandinsky as well as Swiss Modernists Cuno Amiet and Ferdinand Hodler. Clean copy.

Hardcover. New Haven CT, Yale University Press, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Published on the occasion of the exhibition held at the Philadelphia Museum of Art, 20 June-3 September 2012]/edited by Joseph J Rishel; with essays by Stephanie D'Allessandro.[et al.] A trio of masterpieces by Gauguin, Cezanne, and Matisse are joined by works by other major artists in this exploration of the enduring vitality of the theme of Arcadia. Paul Gauguin's Where Do We Come From? What Are We? Where Are We Going? (1897-98), Paul Cezanne's The Large Bathers (1906), and Henri Matisse's Bathers by a River (1909-10, 1913, and 1916-17). Other masterpieces by Jean-Baptiste-Camille Corot, Nicolas Poussin, and Pierre Puvis de Chavannes establish the high value given to Arcadia in the history of French painting. Still in publisher's shrinkwrap.

Hardcover. New York, Arcade Publishing, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 440 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to dust jacket. A pioneer of modern art and founder of Cubism, Georges Braque was a creative genius and tireless innovator, constantly pushing back the boundaries of the possible. In this magisterial work, Alex Danchev taps a wide range of new sources to reveal the heart and mind of one who helped usher in the greatest revolution in the ways of seeing since the Renaissance and changed the face of modern art. Chapters include: "Memories in anticipation:" The Confirmed Painter, "Mon vieux Wilbourg:" The Encounter with Picasso, "If I should Ide Out There:" The Great War, The prong of the rade" : Late Braque. And much more.

Hardcover. New York, Arcade Publishing, 1st, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover, 440 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to dust jacket. A pioneer of modern art and founder of Cubism, Georges Braque was a creative genius and tireless innovator, constantly pushing back the boundaries of the possible. In this magisterial work, Alex Danchev taps a wide range of new sources to reveal the heart and mind of one who helped usher in the greatest revolution in the ways of seeing since the Renaissance and changed the face of modern art. Chapters include: "Memories in anticipation:" The Confirmed Painter, "Mon vieux Wilbourg:" The Encounter with Picasso, "If I should Ide Out There:" The Great War, The prong of the rade" : Late Braque. And much more.

Hardcover. Princeton NJ, Princeton University Press, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 143 pages, illustrated in color. Bright, clean copy in similar dust jacket.

Hardcover. Princeton, Princeton University Press, reprint, 1998, Book: Very Good, Dust Jacket: Very Good, Hardcover, 272 pages. B&w illustrations. White cloth. beautiful pictorial dust jacket. A lovely copy without tears and bumps. Looks almost brand new.

Hardcover. New York, Museum of Modern Art, 3rd pr., 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 303 illustrations 138 in color. Essay by Robert Storr and with an interview of Richter by Storr as well. Includes numerous color and black and white illustrations, artist chronology, list of previous exhibitions, and a selected bibliography. Published on the occasion of the exhibition from The Museum of Modern Art, New York NY February 14-May 21, 2002. In a bright, unclipped dust jacket.