Search Results: Authors starting with R from artecontemporanea

Stedelijk Museum , Amesterdam, 1979. paperback. fine.

Mazzotta, Milano, 1988. paperback. fine.

Il Fauno-Martano, Torino, 1971. hardcover. fine.

Galleria Vivita, Firenze, 1986. paperback. fine.

Il Collezionista, Roma, 1973. paperback. fine.

Miriam and Ira D. Wallach Art Gallery, New York, 2002. paperback. fine. The photographs of Paris were made by Eugène Atget and later assembled into an album by Man Ray. Since 1976, the album has been in the collection of the George Eastman House, in Rochester, New York.

Joost Elfffers Books, , 1999. hardcover. fine.

Arkansas Art Center, Arkansas, 1964. paperback. fine.

Text: Restany Pierre. cm 8,5x13; pp. 72; paperback with red plastic cover, fine condition of a nice item.

Harry N. Abrams, New York, 1992. hardcover with dust jacket. fine.

Hatje Cantz Verlag, Ostfildern, 2000. paperback. fine.

Rizzoli International, New York, 2011. paperback. fine. Prince is also an enthusiastic bibliophile and a collector of Pop and American counter-culture materials dating from 1949 to 1984. A 2011 exhibition at the Bibliothegrave;que Nationale in Paris will mine his vast interests, combining popular and rare books selected by the artist from the BnF collection, As well as highlights from the artist's personal library, On public view For The first time. Set To The music of Jimi Hendrix, Jim Morrison, Bob Dylan, And The Velvet Underground, The exhibition, which is designed by architect David Adjaye, will meander through a succession of "beat," "hippie," and "punk" thematic settings, To name but a few. Prince's library contains many rare volumes, among them Naked Lunch annotated by William Burroughs, Jack Kerouac's rolled manuscript for Big Sur, Prince's vast collection of "pulp fiction," and Vladimir Nabokov's Lolita published in several… Read More

Serpentine Gallery, London , 1996. paperback. fine.

Bywater Bros Edition, Toronto, 2007. paperback. fine. This nicely produced, staple-bound pamphlet is the first in a new series of artist-designed publications, scheduled to come out three times per year. This first issue contains a selection of works by Richard Prince, the influential New York artist who first created controversy in the 1970s by working with appropriated imagery--then a quite radical concept. Weighing in at only 46 pages, this slim volume nevertheless contains representative samples of all of Prince's most famous work: biker girls, nurses, sculptures, paintings, tattoo pornography, jokes, and other assorted incendiary images. The next issue of Lynn Valley will be designed by Cologne artist Johannes Wohnseifer.

Stedelijk Museum Amsterdam, Amsterdam, 1973. staple binding. fine.

Scalo, Zürich, 1995. hardcover with dust jacket. fine.

The Fruitmarket , Edinburgh , 1988. paperback. fine.

Hatje Cantz Verlag, Ostfildern, 2004. hardcover. fine. Perfectly beautiful yet strangely faceless, hundreds of interchangeable fashion models and bare-breasted biker chicks find themselves reincarnated in the artwork of Richard Prince. Prince recycles these American (male) pop culture fantasies from found materials, most often advertising images and magazine layouts which he rephotographs, repaints or overpaints, arranges in collages, or breaks down into fragments. Images of women representing various spheres of trivial culture, marketing iconography like the Marlboro Man, and figures borrowed from chauvinist cartoons are central motifs in his art. Without comment, Prince cites and duplicates them in supposedly defunct role clichés that remain stubbornly present even today. Women goes even further, presenting a diverse yet decidedly thematic selection of appropriations chosen by the artist himself and ranging across his body of work. From bad sexist jokes to the covers of books written by… Read More

Lesalle Bank, Chicago, 2003. hardcover. fine. Tall, skinny, short, round, squat, awkward, slouched, tanned, bashful, and sometimes unknowingly beautiful, the adolescents in Rineke Dijkstra's Beach Portraits stand alone, the ocean rolling behind them. Clad in little more than bathing suits, these young people are striking to behold. Remarkably clear and formally classical, each subject is frontally posed and shot straight on; the resulting photographs participate in a cold, quasi-scientific categorization reminiscent of the work of August Sander and Thomas Ruff. Yet Dijkstra's pictures are not just that--there is also something of the eccentric in them, something that comes closer to Diane Arbus's images. Seen together, the complete series of 20 Beach Portraits creates a kind of collective portrait of the existential insecurity and awkward beauty of youth., Essays by Carol Ehlers and James Rondeau. , Foreword by Thomas C. Heagy.

"The Independent Group, or the IG, as it was called, is best known for having launched Pop Art. But the young artists, architects, and critics who met informally at London's Institute of Contemporary Arts in the early 1950s were actually embarked on a far more subversive and constructive mission than the founding of an art movement. Street-smart, anti-academic, and iconoclastic, they embraced Hollywood and Madison Avenue and rejected the traditional dichotomies between high and low culture, British and American values. They used their meetings and exhibitions to challenge the official modernist assumptions of British aesthetics and to advocate instead a media-based, consumer-based aesthetics of change and inclusiveness - an aesthetics of plenty. In doing so they drew upon Dadaist, Futurist, and Surrealist strategies to invigorate their alternative version of modernism - a version that today can be said to have insinuated the terms of postmodernism. This book provides the first… Read More