Greve, KarinBiblio.com
3 650 résultats
réf. 382888704X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2004réf. 51482New ork: Ironclast Productions 2004. First edition. Hardcover. Near fine condition. Large Quarto. 256 14pp. Original red cloth with gilt lettering on cover and spine in original color-illustrated dustjacket black lettering on spine. Decorative endpapers. 13 frontsipieces three of them double-page. Catalog for the traveling exhibition Beautiful Losers: Contemporary Art and Street Culture at the Contemporary Arts Center Cincinnati Yerba Buena Center for the Arts San Francisco and Orange County Museum of Art Newport Beach. Profusely illustrated with color and b/w reproductions of street art by Thomas Campbell Cynthia Connolly Brian Donnelly Cheryl Dunn Shepard Fairey Phil Frost and others. Comprehensive overview of the works in historical context with insights into methods and inspirations. Conatains biographical notes on artists and contributors at rear. Dustjacket with minor wear along edges. Ironclast Productions hardcover
réf. 11005Norway 2019. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film of an alternative version was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 2 of 3 copies. Please Note: we have a number of variations of this work and there is a discount when buying 3 or more. hardcover
2016réf. 10503Norway 2016. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 4 of 5 copies. hardcover
réf. 10194Norway 2015. Limited Edition. Hardcover. Fine. Limited Edition. Hardcover. Some of the books in the series were made into a film and the film becoming an artwork unto itself. The film was awarded the Critic's Prize on the juried regional exhibition in Trondheim 2017. "The paper is translucent soft airy and completely silent. Quick movements of the papers is physically impossible. Each sheet has one visual element a shape which is mirrored as you turn the page. The fragile paper is printed with motives developed from Arabic ornamentation. This expression was originally created out of mathematics and geometry to avoid imagery that might lead to idolatry. I wanted to combine the book as a system with this geometry to see what that could bring. I find it fascinating how the images switch between flat and spatial" and that despite the strict patterns associations may vary and go towards modernism the oriental and paradoxically also towards figuration. The transparency causes overlaps between the pages that create new shapes and new colors. The sheets melt together in a way which makes it almost impossible for the reader to predict the next sheet's exact pattern and color or to remember precisely the last motif. It plays with the illusions of form color space and order. The image is transformed with each turn of a page and becomes ephemeral. A book starts to exist the moment its pages are turned. Since the book is a media of intimacy presence and touch haptic communication inevitably establishes meaning in itself a communication which invariably will be in some kind of relation to the mental content. It is an arena where perception and thinking operate together it might also bring awareness of your own perception. Books have been holy objects for many different reasons. The fragility of the paper and the actions necessary may add a ritualistic element to the act of reading. I see the reader' act as a performance a slow motion ballet. In a materialistic culture of mass consumption and noisy offensive expressions I find it appropriate to react by focussing on tranquility care and consideration. Like mandalas which often are written in sand to be washed away I have tried to create a space for a contemplative experience displaying the ever changing character and relativeness of existence where different elements always are colored and influenced by their surroundings." Artist statement Randi Annie Strand visual artist born in Norway 1962. Lives in Oslo. MA from Bergen Academy of Art and Design 92. Language signs and sensory experiences are central elements in her works. Her ideas have been realised through different media and techniques. Tight bright and unmarred. Black stiff board black cloth spine Japanese string binding relief prints hand printed using hand cut stencils on 11-12 gram Japanese paper. Oblong fo. np each iteration has 4 to 7 sheets. Illus. color plates. Numbered limited edition this being 1 of 3 copies. hardcover
1962réf. 38715Dresden: VEB Verlag der Kunst 1962. First German edition. Hardcover. fair to vg. Quarto. 1511pp. Original photo-illustrated dustjacket over gray cloth with black lettering on cover and spine. Translated from the original "Tira'Mhurain: Outer Hebrides" by Dr. Ludwig Ueberfeldt. Striking portraits and b/w photographs of the life life style and habitat of the people of the Outer Hebrides a diverse archipelago off the West coast of mainland Scottland by American photographer Paul Strand with a text by British historian Basil Davidson. Includes notes on and list of photographs and map of the Hebrides at rear. Text in German. DJ with wear along edges one by four inch chip around head of spine smaller chips and some creasing at bottom of back cover. Light age-toning of book block in margins not affecting images. DJ in overall fair binding in very good interior in good to very good condition. VEB Verlag der Kunst hardcover
1980réf. 38537Millerton NY: Aperture 1980. Limited edition. Hardcover. g to vg. 1/450. Folio. 256pp. Original grey cloth with white and black lettering on spine and front cover. Book housed in its matching slipcase. Strand's classic book on the landscape and people of New England originally published in 1950 but printed with better detail in this edition.This book contains side by side with Paul Strand's timeless photos primary material writings from New Englanders both famous and obscure. This is copy No. 233 of the 450 printed for the first edition which were produced with hand-selected sheets specially bound and slipcased. This copy is lacking the gravure "Iris 1928" signed by Mrs. Paul Strand. Slipcase slightly age-toned along edges. Moderate sunning to spine. Slipcase and binding in overall good interior in very good condition. Aperture hardcover
1962réf. 36478Lausanne: Éditions Clairefontaine 1962. First French language edition. Hardcover. g. Quarto. 151 1pp. Original photo-illustrated dust-jacket over grey cloth with black lettering on spine and front cover. This volume features Paul Strand's 105 beautifully sequenced photographs taken from his 1954 visit to the rugged island of South Uist off the west coast of Scotland. Juxtaposing people and the landscape these staggering beautiful images depict the timeless complicity he saw between humankind and nature in this wild terrain. In the spirit of La France de Profil and Un Pases: Portrait of an Italian Valley these meditative photographs celebrate the wholesome beauty of everyday life. Whether it is a view of rocks and the sea of scudding clouds hanging over a seaside hamlet or the proud figure of an earthbound fisherman before his stone cottage Strand's transcendent images render the island and its inhabitants timeless and eternal. Age wear on dust-jacket with rubbing and sporadic creasing along edges and head and tail of spine taped at verso. Some abrasion on spine. Moderate age-toning along paper margin. Text in French. Dust-jacket in overall fair binding in very good interior in good condition. Éditions Clairefontaine hardcover
1974réf. 20293New York: Aperture 1974. Numbered limited edition. Hardcover. vg. 1/350. Sm. quarto. 182pp. Black cloth in matching slipcase with original publisher's paper band. Two tiny stains on front cover. Profusely illustrated with b/w reproductions of photographs on glossy paper. Includes excerpts from correspondence interviews documents chronology and selected bibliographies. Profile by Calvin Tomkins. Accompanied by a hand-pulled dust-grained 5 1/2" x 7" gravure Fisherman Gaspè 1937 of an Iris window-mounted on stiff sleeve and protected by printed tissue guard within gray paper folder all in original shipping sleeve. Gravure was made from the original negative. Blind-stamp of Paul Strand Estate on lower right margin of sleeve. Gravure in fine book in near fine condition. All items in publisher's large original shipping box. Rare. Aperture hardcover
réf. 46337642like new. unknown
réf. 46383054like new. unknown
1938réf. 234231938. Labor Organizing United Auto Workers and CIO labor photograph archive documenting strike action union leadership and collective bargaining negotiations during the expansion of organized labor in the American automobile industry 1938-1949. The archive traces the period immediately following the 1935 Wagner Act when unions gained federal legal protection for collective bargaining but still faced violent resistance from corporations police departments and municipal governments. Several scenes connect directly to the years surrounding the 1937 Battle of the Overpass in Dearborn when Ford security men beat UAW organizers attempting to distribute union literature outside the River Rouge complex and to the broader wave of sit-down strikes and factory shutdowns that forced General Motors Chrysler and eventually Ford into formal negotiations with the UAW. The captions identify senior labor figures including Walter Reuther R. J. Thomas George Addes and Richard T. Leonard establishing the archive as documentation not merely of rank-and-file unrest but of the institutional consolidation of the UAW-CIO into one of the most powerful industrial unions in the United States. The material also records how labor disputes extended beyond factory gates into courts city halls state legislatures and police jurisdictions revealing the political dimensions of industrial unionism during the New Deal and early Cold War years. Photo archive of 12 Large silver gelatin press photographs one large panorama measuring 9.5 x 16.5 inches 11 press photos ranging from 6 x 8 inches to 8 x 10 inches primarily Detroit Dearborn South Gate and Atlantic City circa 1938-1949. A large-format scene dated 1939 records tear gas and street violence during a UAW strike at the Fisher Body plant with clouds of gas spreading across trolley tracks as helmeted police advance toward crowds of fleeing workers and spectators. Another image shows hundreds of demonstrators carrying a massive American flag through downtown Detroit toward City Hall during protests following clashes between union pickets and police at Federal Screw Works; the verso caption notes approximately forty injuries and references accusations of "police brutality" raised before city council. Additional photographs show UAW-CIO officials seated at conference tables negotiating contracts and appearing in municipal hearing rooms beneath desk microphones and courthouse lighting. Captions identify figures including Walter Reuther George Addes and R. J. Thomas while a 1940 Dearborn caption records the arrest of union leaders for distributing handbills asserting workers' rights under the National Labor Relations Act. South Gate strike scenes outside a General Motors facility show workers carrying placards demanding a thirty percent wage increase while Rev. Louis R. Loe conducts prayer services along the picket line. Convention and leadership photographs from Atlantic City and Washington document labor leaders gathered under the authority of Samuel Gompers and later CIO leadership structures linking local strike activity to national labor organization. The archive illustrates the transformation of the automobile industry from one of the nation's most violently anti-union industrial sectors into the center of postwar collective bargaining power. Ford Motor Company resisted union recognition longer than General Motors or Chrysler relying on private security forces local police cooperation labor espionage and anti-handbill ordinances to suppress organizing inside and outside its plants. Several captions directly reference these legal confrontations including arrests tied to leaflet distribution and disputes over municipal authority to restrict labor organizing in public space. By the late 1940s many of the same figures shown here were negotiating contracts that established wage standards pensions grievance procedures and health benefits that reshaped industrial employment across the United States. Creasing edge wear scattered minor losses adhesive residue and newsroom markings to versos; images remain clear and intact overall. Overall good condition. unknown
réf. 50263139-nnew. unknown
réf. 50263139like new. unknown
réf. 0844740799.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1980réf. 36749Siglo XXI 1980. tapa blanda. 2ª Mano - Bueno/2ª Mano. Siglo XXI. 1980. Historia Rustica; 344 P.; 13x21 CM Siglo XXI unknown
réf. 3319374966.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3662652706.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3832531858.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2008réf. 1554755053Fundación Barrié 2008. Hardcover. Very Good. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More Spend Less.Minor shelf and handling wear overall a clean solid copy with minimal signs of use. Disc included. No marks to text. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. Fundación Barrié hardcover
réf. 3847105264.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3412064041.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 3642624634.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3658065567.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
