Catherine Opie: American Photographer de Allison, Dorothy ; Blessing, Jennifer ; Trotman, Nat ; Ferguson, Russell - 2008

San Francisco / New York: San Francisco Museum of Modern Art / Thames and Hudson, 2007. First edition / First printing. Illustrated paper-covered boards. Very fine. Issued without dust jacket, a clear archival jacket is supplied. A large, heavy Art book, extra shipping charges will apply.

Seattle: William Traver Gallery, 1998. Signed on the title page by Lino Tagliapietra. First edition / First printing. White perfect bound wrappers. Fine without dust jacket. Beautifully produced exhibition catalogue. Archival clear mylar jacket is supplied.

Creta, Greece: ITANOS - J.F. Kostopoulou Institute, 1997. First edition. Paperback. As New. As New, paperback. Text contributors: Tachtsis, Kos. / Valaoritis, Nan. / Kotzamani, Mar. / Lambraki - Plaka, Mar. / Kostopoulou, Ann. and others. Photographers: Chatzatourian, Laz. / Vacharidis, John.

From a total edition of 300 copies, this number 26 / 100 signed by the artist. 4to. c.10.3/4 x 8.1/4 inches. c.27 x 21 cm. Frontis + full page b/w plates reproduced by lithography. Fine copy in v.g. dust wrapper.

Yale University Press, 2014. First Edition. Hardcover. NEW in publisher's shrink-wrap. hardcover, Yale University Press, 2014, 272 pages. Ships from Hawaii. This compelling examination of the work and lives of Expressionist artists Wassily Kandinsky and Gabriele Münter and Dadaists Hans Arp and Sophie Taeuber illuminates the roles of gender and the applied arts in abstraction's early days. Both couples, like Expressionism and Dada more generally, strived to transcend the fragmented individualism promoted by capitalism. Through abstraction and by unsettling the boundaries between the decorative and fine arts, they negotiated tensions between the philosophical and commercial aspects of their production. Both pairs were feminist―the women ambitious and the men supportive of their work―but theirs was a feminism that embraced differences between the sexes. This innovative look at the personal relationships of two influential artist couples shows how everyday life―mundane concerns along with… Leer más

London and Ostfildern, Germany: Michael Hue-Williams Fine Art and Hatje Cantz Publishers, 1999. First edition / First printing. Illustrated boards. Very fine in fine mylar dust jacket, with extremely light rubbing.

Roma, Tip. Salviucci, 1864. Soft Cover. xiii, [3], 157 p.; 22.5 cm. Title continues: pubblicati per opera di Ernesto Ovidi. A collection of essays by a painter who was a Pre-Raphaelite before the Pre-Raphaelites. He admired Trecento and Quattrocento Italian Renaissance paintings and here studies them as a basis for art of the Romantic movement. Untrimmed, uncut in original yellow wrappers; very good. Stock#OB691.

Oxford: Westview Press, 1992. Trade softcover. Published Oxford: Westview Press, 1992. 4to. wrappers, 7 3/8" x 9 1/4", x+518pp., illustrated with b/w photos. Fine, as new. . Soft Cover. Fine/No Jacket, As Issued. 4to.

Livingston, Mont: Clark City Press, 1987. First Edition. Paperback. Near Fine. The Missouri Headwaters was issued with a series of 12 lithographs, which are reproduced in the book, along with entertaining comments from the author/artist. The white cover may be just starting to yellow and has light rubbing. Contents of the book are clean and tight.

San Francisco, CA: Beach Books Texts & Documents, 1967. First Edition. Softcover. Very Good-. 8-1/2 x 11 Wraps; First Edition; 48pp; Handling wear to covers, text unmarked, binding is tight, VG- condition. Inscribed & Signed by Author. Collection of 42 arresting black & white collages by little-known Beat figure active in the 1950s and 1960s who collaborated with and was associated with William Burroughs. According to his friend, Jan Herman, Mustill "declined to play the 'art game.' He shunned publicity and guarded his privacy at any cost. Less curmudgeon than extreme dissenter, he resembled William S. Burroughs in this respect: Nothing pleased him more than reaming out the human race. His compositions stop you dead with their viciousness, not to mention their technical perfection and satirical intent." Introduction by Claude Pelieu.