Bob Nickas (326 results)

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Paperback. Condition: new. Paperback. For one year, respected critic and curator Bob Nickas put his money where his eyes are: he decided to become a collector, someone who takes art off gallery walls instead of hanging it there. His ground rules dictated that he would buy one work per month from an artist he had never written about or exhibited before. In this fascinating diary of his year on the market, he tracks the changes in his relation to art, when the commitment becomes one of the wallet and not just the mind and words. It has affected the way I look at art, he writes. On the one hand, if I am unwilling to part with my hard-earned money, how worthy can the art really be? On the other, there are certainly works far above my humble means. For this project, I have had to pay to have my say. For one year, respected critic and curator Bob Nickas put his money where his eyes are: He decided to become a collector, someone who takes art off gallery walls instead of hanging it there. His ground rules dictated that he would buy one work per month from an artist he had never written about or exhibited before. In this fascinating diary of his year on the market, he tracks the changes in his relation to art, when the commitment becomes one of the wallet and not just the mind and words. "It has affected the way I look at art," he writes. "On the one hand, if I am unwilling to part with my hard-earned money, how worthy can the art really be? On the other, there are certainly works far above my humble means . . . . For this project, I have had to pay to have my say." Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Hardcover. Condition: Good. Jumbo-sized. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD.

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Paperback. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized. PAPERBACK.

Paperback. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

Paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Paperback. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

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Paperback. Condition: VG. Text free of underlining, writing and highlighting. Very nice clean copy. BOB NICKAS THE PAINTED WORLD: PLANS FOR IMAGINARY STRUCTURES In a gallery, the floor below your feet is exactly where you expect it to be. The walls on which the works of art are hung are usually flat, painted white, and well-lit. Galleries, lit by artificial means, are often window-less,1 for a few brief moments, the outside world disappears, and the work, untouched by the light of day, need not compete with any outer reality. A gallery is a seemingly neutral space that conforms to the basic shape of a cube, with walls, ceiling, and floor all at right angles to one another. People viewing the works give scale to both the room and to the works on view, providing human perspective. You more readily grasp the scale of an object when a body is present: the gallery, like a stage set, is animated by bodies in space. The paintings here in this gallery, however, display a range of spatial dislocations that turn our expectations in on themselves, presenting us with a parallel world that resembles, and yet confounds, our own. 42 pages.…