cats

Hardcover. Stuttgard GR, Cantz, 1st, 1993, Book: Very Good, Dust Jacket: Very Good, 159 pages. Hardcover. Text in English and German. Illustrated with full color photographs. Exhibition catalog of Judd's work presented by the Stankowski Foundation. Slightest darkening to page edges. A clean, bright copy.

Hardcover. NY, Mnuchin Gallery, 1st, 2013, Book: Very Good, Dust Jacket: None, Hardcover, glossy boards, 68 pages. With texts by Flavin Judd, Jim Jacobs, and Peder Bonnier. Includes a checklist and chronology. Illustrated in color and b&w. Clean copy.

Hardcover. New York , Skira Rizzoli, 1st, 2011, Book: Very Good, Dust Jacket: None, 224 pages, many illustrations, 72 in color. Bibliography, chronology. Published on the occasion of an exhibition held at the Contemporary Arts Museum, Houston, TX, October 1, 2011 to January 8, 2012. Like new in publishers shrink-wrap.

Hardcover. Chicago, IL, Laird & Lee, 1st, 1906, Book: Very Good, Dust Jacket: None, 186 pages. Hardcover. Illustrated front cover. Photo illustrated throughout. Green cloth spine. Original binding with a touch of water staining on front cover right corner. Pages and edges have a touch of tanning from age, doesn't affect text or images. Spine is becoming separated from coverboard, but still attached and repairable. "A vivid and realistic story graphically depicting San Fancisco's great fire."

Hardcover. Koln GDR, Walther Konig, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, 242 pages 152 illustrations 87 in color. Text is in German and English Preface by Dietrich Karner. Introduction by Sabine Breitwieser. Published on the occasion of the exhibition from the Generali Foundation, Vienna 11 May-12 August 2001. List of Works in Exhibition. Biographies and Bibliography. To be able to take one's self off like a jacket and put on another self--who hasn't occasionally wished it were possible? Identity and transformation are among the central issues for contemporary art making, and Double Life pulls together a diverse selection of artists whose work embraces the possibilities of personality and appearance, racial and sexual stereotype, role-playing and reality. The artists in Double Life--from Marina Abramovic, Adrian Piper, and Andy Warhol to Ion Grigorescu, Eleanor Antin, Pierre Huyghe and Cindy Sherman--have all employed various strategies in their desire to assume different roles. Whether ironic, eccentric, utopian or critical, their methods have ranged from the subtle to the extreme. Zoe Leonard's pin-up calendar is filled with sexy portraits of her bearded self. Early black-and-white photographs by Cindy Sherman show the artist casually dressed as a random sampling of everyday people. Pierre Huyghe's Ann Lee is an anime extra, a digital character completely lacking any discernible identity. But artist Lynn Hershman perhaps best articulates the issue when she writes, "I always told the truth for the person who I was, but the person kept fluctuating."

Softcover. New Britain, CT, New Britain Museum of American Art ; London : University Press of New England, 1st, 2009, Book: Very Good, Dust Jacket: None, 84 pages. Softcover. A very clean, unmarked copy with only minor edgewear. Color illustrations throughout. This catalogue explores the often uneasy relationship between the art of painting and the art of illustration, featuring American artists who practiced both styles of painting between 1850 and 1950. The catalogue charts the development of both types of art through the eyes of a select group of artists of who engaged in both fine art and illustration.

Softcover. New Britain, CT, New Britain Museum of American Art ; London : University Press of New England, 1st, 2009, Book: Very Good, Dust Jacket: None, 84 pages. Softcover. A very clean, unmarked copy with only minor edgewear. Color illustrations throughout. This catalogue explores the often uneasy relationship between the art of painting and the art of illustration, featuring American artists who practiced both styles of painting between 1850 and 1950. The catalogue charts the development of both types of art through the eyes of a select group of artists of who engaged in both fine art and illustration.

Softcover. Baltimore MD, Baltimore Museum of Art, 1st, 1985, Book: Very Good, Dust Jacket: None, Large softcover, 202 pages illustrated in color and b&w. Less famous than Gertrude Stein and her brother Leo, the Cone sisters were important patrons of early modernism and the School of Paris. Their collection, which is especially rich in works by Matisse, now resides in the Baltimore Museum of Art. Clean copy.

Hardcover. Univ of Georgia Georgia Museum, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, 360 pages. Hardcover with dust jacket. Clean, unmarked copy with only minor wear to dust jacket.

Softcover. Los Angeles :, Los Angeles County Museum of Art, 1st, 1984, Book: Very Good, Dust Jacket: None, Exhibition catalog. 191 pages, illustrated throughout with numerous plates in b&w. Cream dye-cut textured wrappers. Light wear and staining to covers, else a very nice, tight copy.

Softcover. New York, The Pierpont Morgan Library, 1st, 1975, Book: Very Good, Dust Jacket: None, Softcover. Approx. 130 pages. 123 plates. B&W illustrations throughout. Green cover with slight wear and fading. Slight soiling to edges. Overall, a clean, tight copy.

Hardcover. New Haven, Yale University Press, 1st, 1964, Book: Very Good, Dust Jacket: None, Two hardcover volumes. V.1; 164 pages with text, V.2; 227 plates in color and b&w. Gray cloth, gilt title spine. Lacking slipcase and dust jacket, but in excellent shape. A very nice, tight, clean set.

Softcover. New York, Jill Newhouse, 1st, 1983, Book: Good, Dust Jacket: None, Unpaginated, staple-bound pamphlet, with 47 black-and-white illustrations. Price list for works laid in. Light soiling, edge-wear, and shelf-wear to covers. A little foxing to top edge. Otherwise, clean, tight copy.

Softcover. Cambridge, MIT Press, 1st, 1996, Book: Very Good, Dust Jacket: None, Softcover, exhibition catalogue featuring the famed architect's travel sketches along with photographs of the buildings he encountered and essays on their influence on his work. 11'' x 8.5''. In original dark orange pictorial wrappers. Illustrated throughout in black and white, some color, 136 pages. Spine sun faded.

Hardcover. NY, The Morgan Library & Museum, 1st, Book: Very Good, Dust Jacket: None, Hardcover, pictorial boards, 294 pages. Clean, bright copy. A sumptuous collection of master drawings from the Renaissance to the current era, all reproduced in color.

Hardcover. Philadelphia PA/New Haven CT, Philadelphia Museum of Art/Yale University Press, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, 336 pages, hardcover with dust jacket. Published to commemorate the centenary of Levy's birth. With 300 photographs, including many unfamiliar works by well-known artists, the catalogue presents a stunning survey of this collection, long hidden from public view. Fading to dust jacket spine and fore edges. Unmarked. A clean and tight copy.

Softcover. London, Tate Publishing, 1st, 2008, Book: Very Good, Dust Jacket: None, Softcover, 248 pages, color and b&w illustrations. This book examines the work of Duchamp, Man Ray, and Picabia, three pioneering figures in the history of modernism. It explores the points of convergence and the parallels in their development throughout their careers. Central to this is their response to photography and film, and to the challenges posed to fine art by the development of mass production. Duchamp's paintings of 1911-12 were influenced by the representation of movement in photography, while Picabia's were shaped in part by the belief that the advent of the camera spelled the end of traditional painting. Man Ray used photography first to record his own art works and those of others, but soon saw in it a means of creating images of a status and inventiveness traditionally restricted to fine art. And, as this fully illustrated book shows, humor and eroticism were themes common to the work of all three artists.

Softcover. Freeport ME, The Bond Wheelwright Co., 1st pbk, 1974, Book: Very Good, Dust Jacket: None, Softcover, red wrappers, 128 pages with b&w plates, perfect binding, complete list of drawings by artist, profusely illustrated with large b&w plates, foreword by Erwin D. Canham, biography by Natalie Sturges Butler. Rubbing to covers, price stamp to blank title page. Light rubbing to covers.

Hardcover. San Francisco, Last Gasp, 1st, 2008, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 48 pages in color. A catalog of Gary Baseman's "I Melt in Your Presence" solo art show in San Francisco. Baseman's paintings reflect an oozing, sexual frenzy and dripping, cream-filled energy. This large-format hardcover collector's edition features beautiful reproductions of Baseman's nude studies in mixed media and his paintings such as "Dripping With Desire." Still in publisher's shrinkwrap. DOMESTIC SHIPPING ONLY due to size.

Hardcover. Boston/NY, Bulfinch/Little Brown, 1st, 2002, Book: Very Good, Dust Jacket: Very Good, Hardcover, 96 pages. Essay by Maria Morris Hambourg. Includes 54 tritones, 10 text illustrations and 4 gatefolds. A clean and tight near fine copy. Published in conjunction with a traveling show that ran January 14 through April 21, 2002 at The Metropolitan Museum of Art

Softcover. NY, Whitney Museum of American Art, 1st, 1973, Book: Very Good, Dust Jacket: None, Softcover, pictorial wraps. Beautiful reproductions of paintings and drawings throughout, with 12 color plates. Pages are crisp and clean, binding is tight. 126 pages. Catalogue of the exhibition held March 28 to May 14, 1972, at the Whitney Museum of American Art.

Softcover. London, Sotheby's, 1st, 2005, Book: Very Good, Dust Jacket: None, 367 pages, photographs throughout. Very slight corner and edge wear, otherwise, very clean and tight copy.

Hardcover. New Haven, CT, Yale University Press, 1st, 2018, Book: Very Good, Dust Jacket: None, 47 pages. Hardcover with no dust jacket. Very clean, LIKE NEW in publishers shrinkwrap. Ruscha's work comprises five black-and-white Los Angeles landscapes made in 1992 paired with color representations of the same sites as they appeared ten years later and draws attention to how often-overlooked changes in the evolving urban landscape are redolent of economic might and globalization or decline and stagnation.