Seller: Lion Books PBFA, Kidderminster, WORCS, United Kingdom
Association Member: PBFA
First Edition
US$ 12.43
Quantity: 1 available
Add to basketHardcover. Condition: Very Good. First Edition. IKON Gallery stamp to inside margin of ffep, sl rubbed onto opposite page (inside front cover) minor shelf rub to some edges of cover. ; 8vo 8" - 9" (4:3); 80 pages.
Language: English
Published by Ikon Callery/The Contemporary Art Gallery, United Kingdom, 2012
ISBN 10: 1904864686 ISBN 13: 9781904864684
Oversize Hardcover. Condition: Fine. No Jacket. A clean, unmarked book in excellent condition. Unpaginated. Many color photos. Catalog for the exhibitions at Ikon Gallery, Birmingham (23 February - 25 April, 2011) and Contemporary Art Gallery, Vancouver (17 November - 8 January, 2012). 2.
Seller: Hay-on-Wye Booksellers, Hay-on-Wye, HEREF, United Kingdom
Condition: Very Good. Unused.
Language: English
Published by Birmingham/Bonn : Ikon Gallery/Kunstmuseum, 2008
ISBN 10: 1904864406 ISBN 13: 9781904864400
Seller: Klondyke, Almere, Netherlands
Condition: Good. Original boards, dust jacket, illustrations in colour, 4to.
Language: English
Published by Ikon Gallery Birmingham, UK, 2010
ISBN 10: 1904864651 ISBN 13: 9781904864653
Seller: Marcus Campbell Art Books, London, United Kingdom
US$ 165.80
Quantity: 1 available
Add to basketPaperback. Condition: Very good in wraps. 22 x 28cm 126pp very good paperback exhibition catalogue produced for a show at the Ikon Gallery, Birmingham 22 September-14 November 2010. Donald Clarence Judd was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. He is generally considered the leading international exponent of "minimalism", and its most important theoretician through such writings as "Specific Objects" (1964). Judd voiced his unorthodox perception of minimalism in Arts Yearbook 8, where he says, "The new three dimensional work doesn't constitute a movement, school, or style. The common aspects are too general and too little common to define a movement. The differences are greater than the similarities." With colour reproductions of the works.