Sturtevant Frank (7 results)

Hardcover. Condition: Good. Dust Jacket Condition: No Dust Jacket. Badly stained endpapers; 122 pages.

Hard Cover. Condition: Good. No Jacket. First Edition. From an academic library with the usual stamps and labels. Apart from the library evidence a clean tight copy. A00013610.

Soft cover. Condition: Near Fine. Oktagon Verlag, Munich, 1992. Softcover, 163 pp. Large format. The work of American conceptual artist and "appropriationist" Elaine Sturtevant (1924-2014). Not as well-known in her own country, her work appears more often in European collections. Text includes a conversation with the artist. Near fine condition. ** Heavy or oversize Item. An extra shipping charge may apply.**.

hardcover. Condition: Good. Good. Dust Jacket NOT present. CD WILL BE MISSING. . SHIPS FROM MULTIPLE LOCATIONS. book.

Pamphlet. Condition: Very Good. Prompt Shipment, shipped in Boxes, Tracking PROVIDEDOffprint. Name of Stamp: Hampton L. Carson First edition. Offprint. Original wrappers.*.

Hardcover. Condition: fine. Dust Jacket Condition: fine. First edition. Frank Sturtevant Waterman III is fourteen generations removed from the first Waterman to arrive in America. Robert Waterman sailed to the New World in 1636 aboard the Sparrow, which left the same Dutch port city from which the Pilgrims sailed in 1620. Joseph Sampson Waterman established one of the earliest funeral service operations in the mid-19th century. The Waterman Funeral business, with locations throughout Greater Boston, was among the most highly regarded in the country. Frank Sturtevant Waterman III was the last Waterman to serve as president of the business. The volume chronicles not only a family and business history, but societal history as well. The book concludes with Frank Sturtevant Waterman III's message about the crisis of our current times and his hopes for a bright future. Faint creasing to the front endpaper only. Inscribed to Jerry Grimm by Frank S. Waterman III. Inscribed by author. book.

12 pp.; 28 x 21.6 cm; loose leaves; black-and-white; edition size unknwon; unsigned and unnumbered; photocopy / xeroxed Exhibition brochure / checklist published in conjunction with show held May 1 - July 23, 1993. Curated by Jean-Noël Herlin, with research by Karen Bubb and Sarah Wagner. Selected artists include Jean-Noël Herlin, Karen Bubb, Sarah Wagner, Wolfgang Paalen, Tom E. Lewis, Joseph Cornell, Laurence Vail, A. Raymond Katz, Irving Kriesberg, Yves Tanguy, Piet Mondrian, Fernand Léger, Claude Bentley, David Smith, Matta, Jean Follett, Pablo Picasso, Marcel Duchamp, Robert Brownjohn, Ivan Chermayeff, Thomas Geismar, George Brecht, Jim Dine, Claes Oldenburg, Jim Davis, Elaine de Kooning, William T. Wiley, Frank Stella, Man Ray, Red Grooms, Michael Todd, Ay-o, George Ortman, Nam June Paik, Harry Soviak, Arni Hendin, Thomas Downing, Gerald Oster, Reginald Neal, Dakota Daley, Nicholas Quennell, Bela Julesz, Michael Noll, Dan Flavin, Louise Nevelson, Peter Saul, Lila Katzen, Elaine Sturtevant, Kim MacConnel, Liliana Porter, Mel Bochner, Lawrence Weiner, Eleanor Antin, Jean Dubuffet, Yoko Ono, Larry Bell, Marilyn Levine, Larry Rivers, Susan Weil, Arman, Dorothea Rockburne, Robert Rauschenberg, Robert Kushner, Lynda Benglis, Marcia Hafif, Joan Miró, Karole Armitage, Beverly Naidus, Meret Oppenheim, Ronnie Cutrone, Keith Haring, Michael Graves, Judith Shea, Gordon Matta Clark, James Lee Byars, Louise Lawler, and Izhar Patkin, and many others. Materials presented drawn largely from the Jean-Noël Herli Archive. "Exhibition invitations? I've seen a few. Any working art critic inevitably acquires an extensive knowledge of this genre of printed ephemera. Heralding gallery and museum shows, invitations flood the mailbox, crowd the desk and all too often accumulate so intractably on the kitchen counter as to seem part of the decor. You can't live with them, and until the show is over, you can't throw them out. Still, life without such art-world byproducts would be a lot more difficult. Not only do they convey the important facts -- the who, when and where -- of shows that need to be seen. They're also advertisements bent on seducing us into attendance by being clever, eye-catching or provocative -- although sometimes they nip interest in the bud. (There's probably no art lover with mailing-list credentials who hasn't held up some gallery announcement and said, "Forget it!") Invitations are style statements in a minor key, ancillary artworks of a collective sort. Designed by artists, by graphic designers, by art dealers and museum curators -- usually a combination of the above -- they are the advance guard for the real thing. Their merit is judged in the very act of reading one's mail." -- Roberta Smith, "Art Invitations As Small Scraps Of History," New York Times, May 16, 1993. Very Good. Light edge wear. Contents clean and unmarked.