John Stezaker (142 results)

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

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

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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.

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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 A collector, he works from an archive of out-of-date images - mostly old film stills, vintage actor head shots, and antique postcards.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.

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 A collector, he works from an archive of out-of-date images - mostly old film stills, vintage actor head shots, and antique postcards.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.

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.

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

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. In.

Condition: New. pp. 112.

Condition: New.

Condition: New. pp. 112.

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.

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Condition: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

hardcover. Condition: Acceptable. Water damaged. HARDCOVER 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. Standard-sized.

Condition: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Condition: Brand New. New. US edition. Expediting shipping for all USA and Europe orders excluding PO Box. Excellent Customer Service.

Paperback. Condition: Brand New. 87 pages. 10.50x8.75x0.50 inches. In Stock.

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

Paperback. Condition: Brand New. 144 pages. 10.63x8.25x0.59 inches. In Stock.

Paperback. Condition: Brand New. 128 pages. 9.50x7.62x0.47 inches. In Stock.

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. 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.