David Moos (463 results)

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

Paperback. Condition: Acceptable. Acceptable - This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. PAPERBACK Standard-sized.

Paperback. Condition: Very Good. Minor wear on the covers, corners, and the edges. Like shelf wear.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

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.

Hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Soft Cover. First Edition. 4to. Paperback. Glossy, stiff pictorial wrappers with flaps. Exhibition catalogue. 87pp. Profusely illustrated in color.

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

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Hardcover. Condition: Very Good. light shelfwear, NICE! Standard-sized.

Hardcover. Condition: Good. No Jacket. 1st Edition. Minor edge and corner wear; lightly scuffed and scratched; corners are gently bumped and rubbed; some light shelf wear; ex-library with the usual library markings; overall a nice used copy! Full-color pictorial boards with silver and red lettering. Decorative endpapers. 128 historical and artistic pages nicely enhanced by black and white and full-color photographs and illustrations! "In the 1950s Tim Scott studied architecture, and simultaneously, attended the St. Martin's School of Art studying sculpture part-time. His early work was heavily influenced by his teacher, Anthony Caro. Scott moved to Paris to work aAtelier Le Corbusier-Wogenscky, an architectural firm and while there, he discovered photographs of the work of American sculptor David Smith. Smith was to have a strong influence on a generation of British sculptors in the 1960s. Scott returned to London in 1961. Encouraged by Anthony Caro, he, along with other students at the St. Martin's school, rejected traditional methods and began to work abstractly. For an exhibition at the Whitechapel Art Gallery in 1965, they were dubbed the 'New Generation'. While Caro and a few other students began using industrial steel, Scott chose instead to work with fibre-glass, a relatively new material for sculpture. By the mid-sixties, Scott was experimenting with different kinds of plastics and bold volumetric shapes of bright colour. The sculptural works in the book and in the current exhibition at Pacart are from this period. From the foreword: The roots of abstract painting and sculpture reach back to the beginning of the 20th Century. In those roots was the start of a new language. At times painting seemed to spill into sculpture. In the decade between 1910 and 1920 Jacques Lipchitz, Henri Laurens, Elie Nadelman, Pablo Picasso and the Russian Constructivists all made coloured sculpture. By the early 1960s, the optimism that pervaded the Art World once more supercharged the dialogue between painting and sculpture. It was thought that sculpture could take the lead from painting and that colour would become three dimensional. Tim Scott introduced colour and new materials and was very much part of what animated this idea. Kenneth Noland's circle paintings were transformed by David Smith into painted steel sculpture, while Anthony Caro took weight away from sculpture and floated colour space.". …

Wrappers. Condition: Very Good. Birmingham Museum of Art, Published 2003. Wraps, 63 pp.; 25 cm; distributed by D.A.P.; printed and bound in the UK by Butler & Tanner; illustrated throughout with color photographs, one double-page gatefold; catalogue raisonne; exhibition history. In Very Good condition. Pictorial paper covers (detail of Ascension on front, a row of five color squares on rear) with light bumping and creasing to edges and corners, mild shelf wear; a few tiny dark specks to rear cover. Sewn binding, tight. Pages clean and unmarked. Published for Perspectives 7: Stephen Hendee, 5 September 2002 to 6 July 2003, the seventh in the museum's series on new directions in contemporary art. Ascension was a 30-foot-high glowing tunnel of corrugated polypropylene, black tape, hot glue, fluorescent lights, and gels built into the museum's existing staircase, so that visitors walked up through the sculpture; it incorporated pieces first installed around downtown Birmingham during Hendee's 2002 residency at ArchitectureWorks, including Presence Control V.2 in the Concord Center tower and works set in the vaults, firing range, and fallout shelter of the decommissioned Federal Reserve Bank branch. Moos compares the work to Pierre Koenig's Stahl House, Tony Smith's Smoke, Blade Runner, Tron, and Coltrane's Ascension; Phillips, a mathematician and Hendee's collaborator on Q-Artifacts (1998), reads the installations as quasicrystals and cellular automata; Griffin, then associate editor of Artforum, on the synthetic ideal. Hendee (born Santa Monica, 1968; BFA San Francisco Art Institute, MFA Stanford) has since built installations for Meow Wolf Las Vegas and teaches at the Maryland Institute College of Art. The catalogue raisonne of built sculpture, pp. 48-57, records every installation from BlackMarket RAM (1994) to 2002 with venue, dates, and materials. Contents: Secret Spaces, a foreword by Gail Trechsel; Connecting with Ascension, an essay by David Moos; Ascension, an installation by Stephen Hendee; What Infernal Hand or Algorithm? A Mathematician's Perspective on the Art of Stephen Hendee, an essay by Robert Phillips; Synthetic Ideal, an essay by Tim Griffin; Artist's Exhibition History; Catalogue Raisonne of Built Sculpture; A Note on Additional Images & Text; Contributors.…

Softcover. Condition: Near Fine. Like new with very light wear to covers and no marks to text. Art Survey; 4to - over 9¾" - 12" tall.

Softcover, 64 pages; very good condition; clean and crisp; inscribed, dated 2002 and signed by Stephen Hendee on title page; no other internal marks. Foreign shipping may be extra.

paperback. Condition: Very Good. In Near Fine condition. Dust jacket has very light shelf wear. U.S. orders are shipped from N.Y. state.

Soft cover. Condition: Near Fine. Dust Jacket Condition: No dust jacket as issued. 1st Edition. First edition, first printing. Soft cover. Photographically illustrated wrappers; no dust jacket as issued. Installations by Stephen Hendee. Essays by David Moos, Robert Philipps and Tim Griffin. Includes an exhibition history, illustrated catalogue raisonné of built sculpture, note on additional images and text and notes on the contributors. 64 pp. (with two 2-page gatefolds), with 6 four-color plates and 32 additional color illustrations. 9-3/4 x 8-1/4 inches. Published on the occasion of an exhibition at the Birmingham Museum of Art. Near Fine (moderate foxing to the wrappers, slight bumps to corners, else Fine).…

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. 1st Edition. Oversize. Book is Fine. Spine head of dust jacket a little crinkled, with a short tear.

Paperback. Condition: Very Good. Minimal wear to cover. Pages clean and binding tight. shelf wear. bumped edges Paperback.

Paperback. Condition: Near Fine. Like new with light wear to covers and no marks to text. ; 4to - over 9¾" - 12" tall.

Paperback. Condition: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDVery good, used book with light wear.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Chicago: University of Chicago Press. 1991. First edition. Black cloth. 230 pages. 155 illustrations, many in A near fine, brighnt and clean copy with the dust jacket in a mylar protector. All books shipped in boxes.

Paperback. Condition: As New. Paperback. Cover shows very minor shelving wear, otherwise an unblemished copy.; 100% Satisfaction Guaranteed! Ships same or next business day.

Condition: good. Paperback Book.

Paperback. Condition: New. Color exhibition card laid in. Exhibition catalog illustrated in color. 36 pages.

Hardcover. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Oversized Hardcover. Condition: Good. Against the background of Russian progressive cultural and scientific movements, this volume traces the close relationship between Malevich's writings and work and other contemporary nonpolitical revolutions: relativity and quantum theory; Roman Jakobson and the 'Prague School' in linguistics. The authors draw analogies between vanguard structuralist poetry and Malevich's postcubist works. A close reading of Malevich's later figurative paintings solidifies the geniusof his extraordinarily inventive stance. Situating Malevich in terms of an all-pervasive modernist subjectivity, this work transmits the artist's thinking as well as his work. 230p.…

Softcover, 60 pages, very good condition, clean and crisp; no internal marks. Foreign shipping may be extra.

Hardcover without dustjacket as issued, 128 pages; very good condition, tiny bump to bottom of spine; otherwise clean and crisp; signed by Tim Scott on first page; no other internal marks. Foreign shipping may be extra.