John Stezaker (178 results)

Condition: As New. Unread book in perfect condition.

Soft cover. Condition: Near Fine. 8vo. 111 pp. Illustrated wraps. Light shelf-wear and rubbing. Near Fine.

Condition: New.

Paperback. Condition: new. Paperback. Stezaker attended the Slade School of Art in London in his early teens, he graduated with a Higher Diploma in Fine Art in 1973. In the early 1970s, he was among the first wave of British conceptual artists to react against what was then the predominance of Pop art. Solo exhibitions for Stezaker were rare for some time, however, in the mid-2000s, his work was rediscovered by the art market; he is now collected by several international collectors and museums. Made across a 32-year span, the works in Tabula Rasa unite the central themes in the art of celebrated British artist John Stezaker, from the capacities of collage to the current flow in an age of mass media. This volume brings silkscreens on canvas from the early 1990s and film still collages from the 1990s and 2009 together for the first time. An essay by art critic and cultural commentator Michael Bracewell looks at the connections within Stezaker's practice, centering on notions of screens, voids and cut-outs. AUTHOR: Writer, novelist and cultural commentator Michael Bracewell was born in London in 1958. Educated at the University of Nottingham, he has worked for the British Council in London. His first novel, The Crypto-Amnesia Club, was published in 1988. It was followed by Divine Concepts of Physical Beauty (1989), The Conclave (1992) and Saint Rachel (1995). His most recent novel, Perfect Tense (2001), explores the minutiae of office life. His non-fiction includes a cultural history of England, England Is Mine: Pop Life in Albion From Wilde to Goldie (1997) and his writing is included in The Faber Book of Pop (1995) and The Penguin Book of Twentieth-Century Fashion Writing (1999). He writes about contemporary art for Frieze and has also written exhibition catalogues for contemporary artists including Sam Taylor-Wood, Ian Davenport and Gilbert & George. He has written and presented two documentaries for BBC television, a profile of Oscar Wilde and a film about architectural historian Nikolaus Pevsner's guide to Surrey. Michael Bracewell has written a non-fiction portrait of the last decade of the 20th century, entitled The Nineties: When Surface was Depth in 2002, and several books about Roxy Music, the latest being Roxy: The Band That Invented an Era (2008). SELLING POINTS: . Stezaker was among the first wave of British conceptual artists to react against what was then the predominance of Pop art . Made across a 32-year span, the works in Tabula Rasa unite the central themes in the art of celebrated British artist John Stezaker, from the capacities of collage to the current flow in an age of mass media. 17 colour illustrations This volume brings silkscreens on canvas from the early 1990s and film still collages from the 1990s and 2009 together for the first time. An essay by art critic and cultural commentator Michael Bracewell looks at the connections within Stezaker's practice. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Brand New. 40 pages. 10.63x9.00x0.30 inches. In Stock.

Soft cover. Condition: Fine. 1st Edition. 27 x 22.5 cm. 93, [1] pp. Color plates throughout. Pictorial wraps. Fine.

Hardcover. Condition: Fine. 1st Edition. First Edition. 8vo. 128 pp. Color illustrations throughout. Illustrated paper boards. Light shelf-wear. Fine.

Condition: New.

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Paperback. Condition: New. An overview of John Stezaker's film still collages, this book showcases the evolution of the artist's relationship with a specific material.Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 - the result of a period that marked a crucial change in the direction of the artist's work, which had previously been centered around a text-based 'conceptualism'.The series moves with Stezaker's changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker's earliest film still collages with his most recent.Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Börse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate.

Paperback. Condition: new. Paperback. An overview of John Stezaker's film still collages, this book showcases the evolution of the artist's relationship with a specific material. Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 the result of a period that marked a crucial change in the direction of the artist's work, which had previously been centred around a text-based 'conceptualism'. AUTHOR: David Campany is a British writer, curator and academic specialising in photography, cinema and art. He is the author of many essays and books, including Indeterminacy: Thoughts on Time, The Image and Race(ism), co-written with Stanley Wolukau-Wanambwa (MACK 2022); On Photographs (2020); and The Open Road: Photography and the American Road Trip (2014). Renowned for his rigorous and accessible writing and public speaking, Campany has worked with institutions including MoMA, New York; Tate; Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; Photographers' Gallery, London; and Aperture. The series moves with Stezaker's changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker's earliest film still collages with his most recent. Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Boerse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate. SELLING POINTS: . This richly illustrated volume provides an overview of the film still collages of leading British Conceptual artist John Stezaker . The artist's collages in this series date from 1979 onwards, marking a transformation from his text-based works to the image-based ones for which he is well known . Focuses on the highly distinctive collages for which Stezaker is most recognised . An interview with the artist and a critical text by art writer David Campany give a rich context to Stezaker's decades-long dedication to film still collages 63 colour illustrations With an interview with the artist, this richly illustrated volume catalogues British Conceptual artist John Stezaker's ongoing series of film still collages, first begun in 1979 and for which he is widely recognised. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: As New. Unread book in perfect condition.

Condition: New.

Paperback. Condition: new. Paperback. British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently. In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Boerse Photography Foundation Prize, even though he does not take photographs. Stezaker says collage is about 'stuff that has lost its immediate relationship with the world' and involves 'a yearning for a lost world'. A collector, he works from an archive of out-of-date images - mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised - all variations on themes. Art critic David Campany says, Stezaker 'is drawn to that very slim space between convention and idiosyncrasy.' In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There's also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur. AUTHOR: Geoffrey Batchen (born 1956, Melbourne, Australia) is an Australian art historian. Assistant Professor, Visual Arts, University of California, San Diego, 19911996; Associate Professor, Art and Art History, University of New Mexico, Albuquerque, 19962001; Professor of Art History: City University of New York Graduate Center, New York City, 20022010; Victoria University of Wellington, New Zealand, 20102019.Much of Batchen's work as a professor and curator focuses on the history of photography. Since 2020, Batchen has been Professor of Art History at the University of Oxford. His curated exhibitions have been shown at the Museu Nacional de Belas Artes in Rio de Janeiro; the New England Regional Art Museum in Amridale, Australia; the Van Gogh Museum in Amsterdam; the National Media Museum in Bradford, England; the International Center of Photography in New York; the Wallraf-Richartz-Museum in Cologne, Germany; the Izu Photo Museum in Shizuoka, Japan; the National Museum of Iceland in Reykjavik; the Adam Art Gallery in Wellington, New Zealand; the Govett-Brewster Art Gallery in New Plymouth, NZ; and the Centre for Contemporary Photography in Melbourne, Australia. SELLING POINTS: . In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There's also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur 50 b/w illustrations British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. A collector, he works from an archive of out-of-date images mostly old film stills, vintage actor head shots, and antique postcards. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. British Conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. He has been making art since the 1970s, but achieved prominence relatively recently.In 2011, he had a retrospective at the Whitechapel Gallery, London, and, in 2012, he won the Deutsche Börse Photography Foundation Prize, even though he does not take photographs.Stezaker says collage is about 'stuff that has lost its immediate relationship with the world' and involves 'a yearning for a lost world'. A collector, he works from an archive of out-of-date images - mostly old film stills, vintage actor head shots, and antique postcards. These images come in standard sizes and are highly conventionalised - all variations on themes.Art critic David Campany says, Stezaker 'is drawn to that very slim space between convention and idiosyncrasy.'In addition to collages, Lost World includes poignant found-object-sculptures: a selection of antique mannequin hands, offering a repertoire of gestures. There's also a film, Crowd, presenting hundreds of film stills of crowd scenes, each for one frame only, in a bewildering blur.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: New. An overview of John Stezaker's film still collages, this book showcases the evolution of the artist's relationship with a specific material.Leading British collage and appropriation artist John Stezaker began his ongoing series of film still collages in 1979 - the result of a period that marked a crucial change in the direction of the artist's work, which had previously been centered around a text-based 'conceptualism'.The series moves with Stezaker's changing interests, using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films. Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume, which brings together Stezaker's earliest film still collages with his most recent.Full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist. John Stezaker (b.1949, Worcester) is one of the leading artists in contemporary photographic collage and appropriation. Employing vintage photographs, old Hollywood film stills, travel postcards and other printed matter, Stezaker creates small-format collages that bear qualities of Surrealism, Dada and found art. Stezaker studied at the Slade School of Art and has taught at the Royal College of Art and Central Saint Martins School of Art, London. In 2012 he was awarded the Deutsche Börse photography prize following a retrospective at the Whitechapel Gallery, London. His work has been exhibited internationally since the 1990s and is held in collections such as the Museum of Modern Art, New York; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Arts Council England; and Tate.

Condition: New.

Condition: New.

Paperback. Condition: new. Paperback. John Stezaker's found images, collages and image fragments are most associated with cinematic imagery, however it is the other found-image sources which he has worked with over the past 30 years which is the focus of this publication; notably the artist's 'Bridge' collages and the anatomical nudes of his 'Fall' and 'Expulsion' series. This catalogue published in association with Rosenwald-Wolf Gallery, Philadelphia, which showed the exhibition John Stezaker: Nude and Landscape in October 2011 centres on Stezaker's works from the 1980s, when he switched from the cinematic imagery of the 1970s towards 'an engagement with the culture of the image to the nature of the image'. The catalogue presents many new works that have not been shown before and, interestingly, also unaltered found images so similar to the Stezaker collages that they are only identifiable when focusing on the absence or presence of the artist's cut. Over 40 full-colour images are accompanied by texts by curator Sid Sachs, who explores the relationship between the landscape and the nude, and Elizabeth Manchester who looks at the notion and role of 'The Source' in Stezaker's work. SELLING POINTS: . This publication centres on Stezaker's works from the 1980s, when he switched from the cinematic imagery of the 1970s towards 'an engagement with the culture of the image to the nature of the image' 40 colour illustrations John Stezakers found images, collages and image fragments are most associated with cinematic imagery, however it is the other found-image sources which he has worked with over the past 30 years which is the focus of this publication. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. Stripped of their typical narrative and commercial contexts, the fragmented collages of this collection act as visually tantalizing ciphers, reflecting the desires and imaginings of the beholder.' Jennie Waldow, Brooklyn Rail This beautifully illustrated catalogue showcases works by British artist John Stezaker made between 1976 and 2017 and brought together in the 2018 show "Love" at The Approach, London. Stezaker is celebrated for his distinctive collage works: interruptions of, and interventions into, found images dating mostly from the mid-20th century products of modernist culture such as film stills, press and publicity photographs, magazines and postcards. His works engage with themes such as psychological archetypes, fragmentation, identity, self and other, desire, inscrutability and enigma, glamour, fantasy, dreams and the gaze. A sense of romance pervades Stezaker's imagery. As demonstrated most dramatically by the artist's 'Love' series (2016), his work seduces and ensnares the viewer's gaze, arresting their perceptual expectations. Disquieting, poetic, compelling, glamorous and strange, the anatomies of love and desire comprising 'Love' resemble a visual encyclopaedia of human consciousness. Featuring essays by Michael Bracewell and Craig Burnett. AUTHORS: Michael Bracewell is a novelist and cultural historian who has written widely about art, visual culture, music and literature. His evocative memoir Souvenir, portraying 1970s and 1980s London, was published in 2021. He has contributed essays on the work of John Stezaker to several publications, including Tabula Rasa (Ridinghouse, 2010) and The Truth of Masks ( 2015). Craig Burnett is a London-based writer, editor, curator and poet. Currently a Senior Director at Frith Street Gallery, he has curated and written widely about modern and contemporary art for Tate, White Cube and 'Modern Painters'. His publications include Philip Guston: The Studio (2014) and Jeff Wall (2005). SELLING POINTS: . A Conceptual artist, Stezaker's distinctive collages separate him from many of his contemporaries and mark him as artist not easily defined by terms like either "abstract" or "figurative" art. They're both and neither . Explores the place of love, desire, eroticism and voyeurism in Stezaker's distinctive spliced photographic works, as well as engaging with notions of fragmentation, enigma and dream . Stezaker is known for using recognisable images from the twentieth-century mass media old Hollywood photos, head shots, film stills and postcards but turning the viewer's expectations on their head through unexpected juxtapositions and interventions 80 colour illustrations Beautifully illustrated catalogue showcasing works by British artist John Stezaker, exploring the anatomies of love and desire in his distinctive oeuvre. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: New. pp. 112 40 Illus. (Col.).

Condition: New. In.

Hardcover. Condition: Very Good. Walther König, Köln; 2008. Book has light rubbinng to covers with surface scratches to back cover, light bumps and scuffs to corners, light bumping to edges. otherwise in great condition, strong binding, clean and unmarked text with bright pages; some light cosmetic wear but an overall sturdy, attractive copy.

Condition: New. pp. 112.

Condition: New.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. pp. 112.