Freeman Michele (56 results)

Paperback. Condition: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Condition: Fine. A near fine to fine copy in pictorial wraps. No printing indicated. Illustrated; 8vo., 175 pages.

paperback. 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!

Condition: Very Good. Used book that is in excellent condition. May show signs of wear or have minor defects.

Hardcover. Condition: Very Good-. Dust Jacket Condition: Good. First US Edition. Dust jacket has some soiling on side edge at front. Scribbling in pen on front of dust jacket as well. Light foxing on top, bottom, and fore edge of book.

Paperback. Condition: Good. Sold as-is. Book is in excellent condition with some underlining and notes penned to margins up to about page 25 ONLY; previous owner's name signed neatly at top corner of half title and title page; light bumping at top of spine and to top corners, faint rubbing to surfaces, light scuffing to covers/text block; otherwise in great shape with tight binding and clean, MOSTLY unmarked pages. A good copy!

Soft cover. Condition: Good. 1st Edition.

Paperback. Condition: Near Fine. First Edition; First Printing. Near Fine paperback stated: First printing. ; V8V; 8vo 8" - 9" tall; 74 pages.

Condition: New. Brand New.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Hardback. Condition: New. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions - Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024-25) - showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at.

Condition: New. In.

Condition: New.

hardcover. Condition: New.

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions - Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024-25) - showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 168 pages. 10.60x9.60x10.63 inches. In Stock.

Condition: New.

Hardback. Condition: New. Anna Freeman Bentley (b. 1982) is an artist based in London. Her painting practice explores the built environment, architecture and interiors, inviting emotive, psychological and semiotic readings of space. This publication, Complete Reality, documents Freeman Bentley's latest series of paintings, which she created after visiting the film set for My Driver and I (2024), a coming-of-age drama set in the port city of Jeddah in Saudi Arabia.Over the course of the shoot, Freeman Bentley took over two thousand photographs, which she edited and worked from in her London studio. The paintings show lavish rooms, filled with fringed lamps, dusty chandeliers, vast mirrors and ornate furniture, juxtaposed with the incongruous signs of a film set: screens, leads, computers and plastic chairs. Exploring the relationship between 'reality' and 'fabrication', the series continues the artist's interest in spaces that have an inherent tension or transience.Alongside the paintings that comprise Complete Reality, the publication also includes a series of oil studies on paper that explore additional rooms, angles and spaces from the film set. Installation images of the artist's most recent solo exhibitions - Video Village at MASSIMODECARLO Pie`ce Unique, Paris (2024), make shift at Monica de Cardenas, Zuoz (2024), and Complete Reality at Anat Ebgi, Los Angeles (2024-25) - showcase the works staged in different configurations and gallery environments. In her introduction, Jennifer Higgie considers the interiority of Freeman Bentley's elusive scenes, and her interest in temporary and unreal spaces. The curator and writer Elisabetta Fabrizi interviews Freeman Bentley about the interplay of reality and illusion in her paintings. They reflect on themes of authenticity and narrative tension, and discuss Freeman Bentley's earlier explorations of cinema, particularly Andrei Tarkovsky's Stalker (1979). Kathryn Lloyd writes about the conceptual and historical relationships between cinema, photography and painting. She analyses how Freeman Bentley forges an interdependence between these three distinct media, creating an unmistakably painterly language that somehow distils the essence of both film and photography.In an interview with Michele Robecchi, the artist discusses her recent solo exhibition in Switzerland, make shift. Freeman Bentley reflects on her personal connections to the work, the significance of the temporary and transitory nature of the film set and her use of triptychs, mirrors and fragmentation to disrupt conventional readings of space. In her contribution, the film producer Georgie Paget offers a speculative film script based on the exhibition Video Village at MASSIMODECARLO Pie`ce Unique, Paris.Edited by Matt Price and designed by Joanna Deans, the book is published by Anomie Publishing, London.Anna Freeman Bentley (b.1982) is an artist based in London. She completed her BA at Chelsea College of Arts, London, in 2004, and also undertook an Erasmus exchange at.

Hardcover. Condition: Brand New. 168 pages. 10.60x9.60x10.63 inches. In Stock.

Condition: New.

Condition: As New. Unread book in perfect condition.

Condition: New.