the press of the nova scotia college art of design new york university press (59 résultats)

Softcover with dustjacket, 160 pages; in English and French; very good condition; excet small stains to upper left corner of dj; gift inscription to first blank page; no other internal marks. Foreign shipping may be extra.

Softcover. textured yellow wraps w/ black printing. 227 pgs w/ bw illustrations. "Donald Judd's uncompromising reviews avoid the familiar generalizations so often associated with the styles emerging during the 1950s and 60s. This book is not a mere survey of the art produced and exhibited during that period. Instead, Judd discusses in detail the work of more than five hundred artists showing in New York at that time and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. The essay "Specific Objects" (1965), which by now has to be considered as one of the essential discussions of sculptural thought in the 60s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism" (1975), published here for the first time. Three hundred reproductions as well as an extensive index accompany the text."--WorldCat. VG (light scuffs & scratches to wraps; rubbing to corners.).

Softcover, 230 pages, very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

First edition. Softcover. 153 pages. A look at this German artist's work with an essay by Jack Burnham and another by Howard S. Becker and John Walton. A near fine copy in wrappers in a very good plus dust jacket that is lightly rubbed and with a few small edge tears and other minor wear.

Softcover with dustjacket, 154 pages; very good condition, clean and crisp; no internal marks. Foreign shipping may be extra.

First edition. Softcover. 338 pages. Simultaneous paperback issue. A look at this important American dancer and filmmaker. Features text and numerous black and white images. A clean near fine copy in photo-illustrated wrappers in a very good plus dust jacket with some tears to the top of the spine and some other light wear.

240 pp.; 28 x 22 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Originally published in 1975, this collection of Donald Judd's writings is a sought-after classic. His uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 60s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism." Very Good. Light dusting of covers with 2.5 cm. and 6 mm. light soiling to recto and very light bumping of bottom edge of publication. 3 mm. tear to top edge of page 163, contents otherwise clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

Soft Cover. Etat : Very Good. Etat de la jaquette : Very Good. Original white photo illustrated wraps with dust jacket. 78 pages with photo illustrations. Has some spotting else very good.

Hardcover with dustjacket, 78 pages; dj only good with scattered brown stains and two 1-inch tears around top of spine; internally very good condition; no internal marks. Foreign shipping may be extra.

Erste Auflage. 25,4 x 20,3 cm. 153 S. Illustrierter OKarton mit illustriertem, flexiblem OKlappenumschlag. Umschlag leicht berieben, angestaubt, fingerfleckig und mit Randläsuren. Erste Seiten mit einem Stockfleck, sonst ordentliches Exemplar. The Nova Scotia series : source materials of the contemporary arts. Durchgehend mit schwarz-weißen Abbildungen versehen. Sprache: englisch.

Softcover, 89 pages, very good condition; light edgewear to spine; no internal marks.

4°, Hardcover. Etat : Sehr gut. Hampton, Hollis (illustrateur). 134 Seiten Sehr guter Zustand mit leicht nachgedunkelten Seiten. Sprache: Englisch Gewicht in Gramm: 840.

Soft cover. Etat : Near Fine. Simone Forti; Handbook in Motion: An account of an ongoing personal discourse and its manifestations in dance; The Press of the Nova Scotia College of Art and Design, Halifax; co-published by New York University Press, New York, 1974. Printed and bound in Canada. This title was one of The Nova Scotia Series: Source Materials of the Contemporary Arts; eleven works in all. Simone Forti (born March 25, 1935) is an American postmodern artist, dancer, choreographer, and writer. Since the 1950s, she has exhibited, performed, and taught workshops all over the world. Her innovations in Postmodern dance, including her seminal 1961 body of work, Dance Constructions, along with her contribution to the early Fluxus movement, have influenced many notable dancers and artists. In 1972, the Press of the NSCAD University invited Forti to Halifax, Nova Scotia to write a book, as part of their collection, The Nova Scotia Series - Source Materials of the Contemporary Arts. Forti lived in Halifax for two years, from 1972 to 1974, writing and editing Handbook in Motion (1974). In Handbook, Forti describes several pivotal moments in her career up to that point and several of her pieces, including Herding, Face Tunes, Cloths, Fallers, and several Dance Construction pieces. The book also contains photographs, poems, and drawings, as well as copied pages from Forti's journals and notebooks and has been translated into French and has been published in 2nd and 3rd editions in English. This softcover book, 151 pages, is in near-fine condition.

Softcover. Etat : Near Fine. 338 pp.; 4to; gray wrappers; photographs and other reproductions. Light wear.

Soft Cover. Etat : Near Fine. First Edition. This is a near fine softcover copy with virtually no wear. Completely clean inside and out. Edited and annotated by Benjamin H.D. Buchloh. Illustrated in black & white. 11" high X 9" wide, 134 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.

Softcover, 134 pages, very good condition; cover clean and crisp, pages toned; no internal marks. Foreign shipping may be extra.

Hardcover. Etat : Near Fine. 1st Edition. Near Fine oblong hardcover in blue boards with a color plate to the front panel. First Edition, First Printing. Overall a bright and attractive copy. 89 pp.

Paperback. Etat : Very good. Paperback. First Edition. Bookseller ticket on inside of rear wrap, else a fine paperback in a near fine, just slightly darkened jacket. Nicer than usual copy. Writings on music and composition from one of the twentieth century greats of minimalism and a pioneer in the use of tape loops (now ubiquitous via sampling) to explore musical concepts, most notably in this cataloger's experience with the piece "Come Out".

134 pp.; 29.2 x 22.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Twelve transcribed dialogues between Carl Andre and Hollis Frampton. Edited and annotated by Benjamin H.D. Buchloh. Appendix photographs by Hollis Frampton of works by Carl Andre 1958 - 1963. Includes index, autobiographies and bibliographies. "Except to delete two sentences of personal reference, I have not altered my share of these dialogues. That is not to say that my opinions have remained unchanged. Quite the opposite is true. In fact most of my opinions have just dropped away over the course of the years. It is a good thing, in principle, to declare your interests and these were the interests of Carl Andre at age 24. Friedel Dzubas once remarked that as he grew older he became more demanding and more tolerant at the same time. I think the same is happening to me." -- Carl Andre, New York, 1979. Very Good. 3 cm. of bumping to bottom left corner of publication, light rubbing of dust jacket edges, light dusting of covers, and light yellowing of pages. Contents clean and unmarked.

134 pp.; 29.2 x 22.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Twelve transcribed dialogues between Carl Andre and Hollis Frampton. Edited and annotated by Benjamin H.D. Buchloh. Appendix photographs by Hollis Frampton of works by Carl Andre 1958 - 1963. Includes index, autobiographies and bibliographies. "Except to delete two sentences of personal reference, I have not altered my share of these dialogues. That is not to say that my opinions have remained unchanged. Quite the opposite is true. In fact most of my opinions have just dropped away over the course of the years. It is a good thing, in principle, to declare your interests and these were the interests of Carl Andre at age 24. Friedel Dzubas once remarked that as he grew older he became more demanding and more tolerant at the same time. I think the same is happening to me." -- Carl Andre, New York, 1979. Very Good. Rubbing and bumping of cover edges including a 1 cm. tear to bottom edge of verso. Light dust soiling of covers. Light yellowing of pages, contents otherwise clean and unmarked.

Hardcover with dustjacket, 144 pages, very good condition; light rubbing and edgewear to dj; no internal marks. Foreign shipping may be extra.

229 pp.; 27.8 x 21.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed First edition printing of the collected writings of Donald Judd. Judd's uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 1960s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism." Good. Dusting and discoloration of covers, with concentrated discoloration / sunning of spine. Rubbing of cover edges and corners; 3.5 cm., 3 cm., 3.8 cm., and 3 mm. of soiling to covers. 2 cm. crease to top right corner and light bumping of bottom right corner of recto. Contents clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

4°, 134 S., mit vielen s/w Abbildungen. Orig.-Karton mit Orig.-Umschlag. Erste Ausgabe.- Umschlag mit kleinem Randeinriss und minimal berieben, eine Seite mit Bleistiftanstreichungen.- Gutes Exemplar.

Soft cover. Etat : Good. 1st Edition. Halifax/New York: NYU Press/ Nova Scotia College of Art and Design, 1975. Octavo. Soft cover. First edition. Pictorial wraps. Spine creased in spots but binding holding strong. A nice copy in close to very good condition.

229 pp.; 27.8 x 21.5 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed First edition printing of the collected writings of Donald Judd. Judd's uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kasimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland, and Claes Oldenburg. His 1965 "Specific Objects" essay, discussions of sculptural thought in the 1960s, is included as well as Judd's notorious polemical essay, "Imperialism, Nationalism, Regionalism." Very Good / Fine. An outstandingly well preserved copy with minimal wear to covers. Contents clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

Soft cover. Etat : Very Good. Michael Snow; Keith Lock & Vince Sharp (illustrateur). 1st Edition. First Edition (NAP). This book contains the fairly rare tipped-in translucent title half-sheet (which is in excellent condition). The first printing soft cover edition was apparently simultaneously published with the cloth edition. The pages are unnumbered, several sellers have referenced there being over 300 pages. There is no text, every page is a black and white photograph. You can see the covers in the photos. They are mostly clean, with one little spot on the front. There is a very thin crease on the spine and a little wear at both spine ends. Part of the publisher's name near the bottom of the spine is rubbed off (the top half of the letters in 'Nova' and the word 'Press'). The binding is solid throughout. The covers are nicely tight. The pages are exceptionally clean. I haven't found any soiling at all. There's no conspicuous creasing, no placeholder creases. There are no markings. No attachments. And no one has written their name or anything else anywhere in the book. 'A man walks into a room and puts a vinyl record on a turntable. He goes outside, gets into his car, drives to a gallery and picks up a book. That, on one level, is what happens in Michael Snow's photobook Cover to Cover. It's also a meta-book that makes unique use of the medium. And it can be read backwards or forwards. Snow made Cover to Cover as a book artwork in 1975, shortly after his film Two Sides to Every Story (1974), the product of two cameramen filming each other from opposite sides of a room, was completed. The book deploys a similar conceit: the actions described are photographed simultaneously from two opposing angles, so that on one side of the page we see, for example, a door, and on the other the back of the man standing just on the other side of that door. The back-to-back setup gives flipping through the book a physical playfulness: at one point, facing off from two sides of a typewriter, the page you're holding becomes a doubled embodiment of a blank page (both representationally and literally); at another, we see the corner of a sitting room, the opposite side facing in towards the ivy-tangled outside of that part of the house, the page somehow becoming a brick wall. The book makes no bones about disclosing the process of its making; at several points the photographers capture each other from across a room or a street. It all might sound like a neat little spiral snake eating its own tail, a conceptual gotcha, but as soon as you begin to recognize and settle into a pattern, the book shifts again, turning what you think you're seeing inside out. Cover to Cover instructs you in how to read it as you go, asking you to digest inversions and sly twists, as well as literally turning the book upside down. Images you thought were simply showing you what was going on become photographs that get folded up or enclosed into a book within the book.' 'Michael James Aleck Snow was a Canadian artist who worked in a range of media including film, installation, sculpture, photography, and music. His best-known films are Wavelength (1967) and La Région Centrale (1971), with the former regarded as a milestone in avant-garde cinema. Snow is considered one of the most influential experimental filmmakers of all time.'.

Soft cover. Etat : Fine. 1st Edition. Large octavo, un paginated, 312 photographic plates. Illustrated wrappers. Very fine. - First edition. Keith Lock photography and Vince Sharp Photography and prints.

Hardcover. Etat : Very Good. First Edition. B&W Photographs; Large 8vo 9" - 10" tall; 1975 Press of the Nova Scotia College of Art & Design & New York University Press; Halifax & New York. 1st edition. Soundly bound in original photo pictorial cloth boards with titles and "Nova Scotia Series" lettered in black to spine. Tipped in half-sheet, acetate title present. Perhaps a little handling soil to the pictorial cloth; cover board lifts slightly at front edge. Facing page b&w photos throughout on unnumbered leaves; clean and sound with no marks of any kind. Snow's pioneering photo book project, widely recognized as a formative work is presented her in complete and solid example. VG or better, as issued without dust wrpper.

Hardcover. Etat : Fair. Etat de la jaquette : Fair. First Edition. 338 pages. Chronology. Selected bibliography. Many black and white photos. Printed upon glossy stock. "So here I am, in a sense, trying to 'replace' my performances with a book, greedily pushing language to clarify what already was clear in other terms. But, alas, gone. This has seemed one good reason to compile a book 'out of' the remains of my performances, letting the language fall where it may. Let it be said simply 'She usually makes performances and has also made a book.' There can be no comparison, therefore no need for apology." - Introduction. Unmarked. Binding tight. Silverfish markings to publisher's black cloth. Openings to top and central portion of backstrip. Somewhat above-average external wear. Somewhat above-average wear and minimal library markings to dust jacket which is now preserved in archival-grade Brodart.

First Edition. First Edition. First issue wrappered binding, without the UNIVERSAL EDITION notation on the spine, and without the added note about typographical corrections by Reich at the end of his Introduction. Association copy, inscribed by Steve Reich to Paul Fromm on the verso of the front endpaper: "for Paul Fromm / From Steve Reich." Reich's first and only book. Fromm, who passed away in 1987, was one of the most important enablers of twentieth century classical music, establishing in 1944 the Fromm Musical Foundation, which commissions major works to this day. He was a fan of Reich's work from early on, and in 1985 the Fromm Foundation commissioned Reich's piece, "New York Counterpoint," now considered one of his most important works. Though the inscription is not dated, it was likely made near to the date of publication, predating the commission by nearly a decade. A scarce signature and a great association between one of the twentieth century's greatest composers and one of its greatest patrons. Near Fine in card wrappers, in a Near Fine example of the scarce dust jacket, with only a small chip at the top front panel to note.