Robert Ryman, First Edition (60 results)

First Edition. First edition. Hardcover. 53 pages. Exhibition catalog for a show that ran September 12 through October 26, 2013. Includes numerous illustrations, list of previous exhibitions, selected public collections, and a checklist. A near fine copy with some minor wear and from the library of Lucas Samaras with estate stamp to the front free endpaper. No dust jacket as issued. A very nice copy with an interesting provenance.

Soft cover. Condition: Very Good. 1st Edition. Minor outer wear and foxing, but otherwise an unmarked and undamaged copy.

Hardcover. Condition: Used-Very Good. First Edition. Cloth, no dj. Slight shelf wear.

First Edition. First edition. Oblong softcover. 21 pages. Exhibition catalog for a show that ran March 23 through Mary 13, 1979. Features an introduction by John Hallmark Neff and an essay by Judith Russi Kirshner. Includes numerous black and white illustrations and biographical information about each artist. A clean near fine copy in stapled wrappers.

First Edition. First edition. Softcover. 53 pages. Exhibition catalog for a show that ran November 19, 2004 through January 8, 2005. Text by Robert Ryman. Includes numerous color illustrations and a checklist. A fine copy in French style wrappers.

First Edition. First edition. Softcover. 57 pages. Exhibition catalog for a show that ran December 18, 2005 through April 2, 2006. Features a foreword and acknowledgements by John R. Lane, an essay by Charles Wylie and a biography by Claire de Dobay Rifelj. Includes numerous color illustrations and a checklist. A clean near fine copy in French style wrappers.

Soft cover. Condition: Good. Well-illustrated (illustrator). 1st Edition. Some dirt on white covers, nice stitched binding that is in good shape, interior pages good condition.

Condition: New. 2020. 01st Edition. Paperback. . . . . .

First Edition. First edition. Softcover. 62 pages. Exhibition catalog for a show that ran March 4 through April 30, 2017. Text in English and Spanish. Features essays by Courtney J. Martin and Robert Storr. Includes numerous illustrations. An ex-library copy from a gallery with there stickers and pocket. Otherwise a very good copy in wrappers with some other minor wear. Uncommon.

Soft cover. Condition: Good. 1st Edition.

Hardcover. Condition: Good. 1st Edition. wear and some tears on dust jacket, otherwise good condition.

Paperback. Condition: Fine. 1st. 383 pages; 21 cm. Tight, clean copy. *** "Through an extremely restricted vocabulary, Robert Ryman became a leading figure on the fringes of Minimalist and Conceptual art. This anthology of essays reviews and charts the evolution of the artist's critical reception. A comprehensive selection of over 60 essays and exhibition reviews has been collated into one volume, including texts by some of the most influential art historians and critics. The writings look at Ryman s work within the context of the 'challenge to painting' in the 1960s, as well as the artist's work in relation to other influential painters in art history. Drawing upon the words of key contemporary thinkers, an introduction by Vittorio Colaizzi explores the importance of elements of support, colour, brushstroke in Ryman's paintings." - Publisher. *** CONTENTS: Robert Ryman: Critical texts since 1967: The Silent Art, 1967, by Lucy R. Lippard; Review. Robert Ryman: Paul Bianchini Gallery, 1967, by Joseph Kosuth; New York Commentary, 1969, by Dore Ashton; Robert Ryman's Double Positive, 1971, by Carter Ratcliff; Robert Ryman, 1971, by Willis Domingo; Review. Robert Ryman at Fischbach Gallery and Dwan Gallery, 1971, by Kenneth Baker; Review. Art: Ryman's White-on-White Oeuvre, 1972, by John Canaday; "Ryman" Brand Paintings, 1972, by Naomi Spector; Ryman, Marden, Manzoni: Theory, Sensibility, Mediation, 1972, by Robert Pincus-Witten; Opaque Surfaces, 1973, by Douglas Crimp; Robert Ryman, John Weber Gallery, 1973, by Bruce Boice; Review. Strata: paintings, drawings and prints by Ellsworth Kelly, Brice Marden, Agnes Martin, Robert Ryman and Cy Twombly, 1974, by Lynda Morris; Robert Ryman: Unfinished III (Position), 1974, by Barbara R. Reise; Review. Robert Ryman: John Weber Gallery, 1974, by Ellen Lubell Note continued: Robert Ryman; active painting, 1975, by Catherine Millet; Review. Robert Ryman: John Weber Gallery, 1975, by Hilton Kramer; Appreciating Ryman, 1975, by Jeremy Gilbert-Rolfe; Ryman Dossier: About the destruction of the surface entity, 1978, by Christian Bonnefoi; Review. Robert Ryman: Sidney Janis Gallery, 1979, by Jeff Perrone; Robert Ryman: Reductionism [actual symbol not reproducible] Entropy, 1979, by Donald B. Kuspit; Robert Ryman: Another View, 1979, by Marcia Hafif; Irreproducible Ryman, 1980, by Thierry de Duve; Painting in Shreds, 1981, by Jean Clay; The End of Painting, 1981, by Douglas Crimp; Ryman's Tact, 1981, by Yve-Alain Bois; Review. Robert Ryman: Bonnier Gallery, 1983, by Stephen L. Kaplan; Review. Robert Ryman: Maeght Lelong, 1984, by Gerrit Henry; This Is Not a White Square, 1984, by Jean Fremon; Review. Robert Ryman: Leo Castelli Gallery, 1986, by Ellen Handy; Art at the Edge: Ryman's Vector and Cezanne, 1986, by Walter Thompson Note continued: Robert Ryman: The Charter Series: A Meditative Room for the Collection of Gerald S. Elliott, 1987, by Neal Benezra; Nonrepresentation in 1988: Meaning; production beyond the Scope of the Pious, 1988, by Jeremy Gilbert-Rolfe; Review. Robert Ryman: Dia Art Foundation, 1989, by Meyer Raphael Rubinstein, by Daniel Wiener; Red Desert and Arctic Dreams, 1989, by Donald B. Kuspit; Signed Ryman, 1990, by Jean-Pierre Criqui; Surprise and Equanimity, 1990, by Yve-Alain Bois; Robert Ryman: Ode to a Clean Slate, 1991, by Dan Cameron; Review. Robert Ryman: Pace Wildenstein, 1991, by Franklin Sirmans; Absence Made Visible: Robert Ryman's "Realist" Painting, 1992, by Thomas McEvilley; Interpretation or projection? Robert Ryman; after-thoughts on the retrospective in Schaffhausen, 1992, by Laura Arici; Robert Ryman Prints 1969-1993, 1993, by Amy Baker Sandback; Simple Gifts, 1993, by Robert Storr; A Paler Shade of White, 1993, by Robert Hughes Note continued: Ryman, 1993, by Arthur Coleman Danto; Review. New York, Museum of Modern Art: Robert Ryman, 1993, by David Carrier; Ryman's Poetics, 1994, by Christopher S. Wood; Review. Robert Ryman: Pace Wildenstein, 1996, by Lee Siegel; Robert Ryman: "Standard," 1967, 1996, by Klaus Kertess; The Ineffable; About Ryman's Work, 1999, by Daniel Buren; About Robert Ryman, 1999, by Christel Sauer; Notes on Obsessive Whiteness (Ethnic Identities Of Whites), 2000, by Ernesto Pujol; Painting as space of experience, 2000, by Christoph Schreier; Boundary, 2000, by Volker Adolphs; About Hand-writing, 2000, by Bernhart Schwenk; Taking Care of Painting, 2000, by Thierry De Duve; Radiant Dispersion: Robert Ryman's Philadelphia Prototype, 2002, 2002, by Jeffrey Weiss; Robert Ryman: Works On Paper 1957-1964, 2004, by Joseph Marioni; The Education of Robert Ryman, 2004, by John Yau; Review. Robert Ryman: PaceWildenstein, 2005, by Roberta Smith; Robert Ryman, 2005, by Jan Dibbets Note continued: Interview. Ryman Paintings and Ryman Exhibitions, 2006, by Urs Raussmuller; Abstraction Problem: Two new shows on an old idea, 2007, by Peter Schjeldahl. Size: 8vo. Collectible.

1. Aufl. Sprache: Englisch - / - Publikation zu einer atmosphärisch dichten Ryman-Ausstellung in Inverleith House, die Rymans Gemälde buchstäblich in einem neuen Licht präsentierte. Innen- und Aussenraum mit dem Botanischen Garten verbinden sich zu einem umfassenden Erlebnis, das neue Erkenntnisse eröffnet und sich in lebendigen Gesprächen mit Ryman, Raussmüller und Paul Nesbitt überträgt. Mit ausführlichen Werkbeschreibungen und vielen anregenden Abbildungen. - Aus Wikipedia: Ryman studierte 1948 am Polytechnic Institute" in Cookeville, Tennessee und 1949 Musik am George Peabody College" in Nashville. Von 1950 bis 1952 diente er bei der US Army als Saxophonist. Hiernach siedelte er nach New York und absolvierte eine Ausbildung zum Jazz-Musiker. Während seiner Tätigkeit als Aufseher im Museum of Modern Art in New York in den Jahren von 1953 bis 1960 lernte er zahlreiche Künstler kennen. Die Werke von Paul Cézanne, Pablo Picasso und Henri Matisse beeindruckten ihn besonders. Daraufhin gab er 1954 die Musik zugunsten der Malerei auf. Nach einigen malerischen Versuchen im Kontext des Abstrakten Expressionismus, bei denen er Zahlen, Buchstaben oder andere Schriftzeichen mit lyrisch abstrakten Farbzonen verband, reduzierte er Anfang der 60er Jahre die Farbskala auf Weiß und konzentrierte sich auf Variationen verschiedener Farbaufträge und Maltechniken auf der Bildfläche. Ryman begann nun ebenfalls, seine Leinwände ohne Keilrahmen direkt auf der Wand zu befestigen. Seit Mitte der 60er Jahre entwickelte er eine Vielfalt an weißen Leinwänden, die sich alleine durch den verschiedenen Farbauftrag, Duktus, Flächendifferenzierungen unterscheiden. Seine Malerei verweist auf sich selbst und wird damit zum Gegenstand der Kunst an sich. Ryman gilt als Vertreter der Analytischen Malerei. Sein Lebenswerk besteht in vielfältiger Auseinandersetzung mit der Farbe Weiß und ist von internationalem Rang. (Sehr gut erhalten - vermutlich ungelesen / in very good condition) Sprache: Englisch Gewicht in Gramm: 1300 KlappBroschur-Umschlag / Softcover.

Well-illustrated (illustrator). First Edition. First edition. Softcover. Exhibition catalog for a show that ran December 3, 1993 through January 22, 1994. Includes 23 color plates and a checklist. A near fine copy in string tied wrappers that are very faintly soiled. A very attractive and austere production.

Dust Jacket Condition: dj. First Edition. First edition and first printing. Hardcover. Published in conjunction an exhibition that ran December 9, 2015 through July 30, 2016. Edited by Stephen Hoban and Courtney J. Martin. Features contributions by Sandra Amann, Jo Applin, Charles Gaines, Gary Garrels, Suzanne Hudson, Philippe Kaiser, Lucy R. Lippard, Courtney J. Martin, Robet Storr, Kirsten Swenson, and John Szwed. Includes numerous color illustrations and an index. A fine copy in cloth boards and in a fine dust jacket. A fresh copy.

Soft Cover. Condition: Near Fine. First Edition. soft cover, folded card covers., minor exterior wear. clean, no writing or markings. no tears or bumps. strong sewn binding.; 383pp., writings, essays, reviews, articles, etc. by 59 individuals, including, bois, daniel buren, arthur danto, jan dibbets, thierry de duve, klaus kertess, joseph kosuth, donald kuspit, lucy lippard, robert storr, jeffrey weiss, john yau. Size: 8vo - over 7¾" - 9¾" tall.

Softcover. Condition: Sehr gut. 1. Auflage. Z/B : 21 x 27,5 cm, 126 Seiten/pages with 52 color illustrations. - On July 27, 2006, the important American Minimalist painter, Robert Ryman, and curator Urs Raussmüller conducted a public conversation in Edinburgh, discussing in detail the qualities that define Ryman's works and distinguish them from other paintings. The conversations took place in the garden next to Inverleith House--the eighteenth-century estate that now houses an innovative program of temporary exhibitions run by the Royal Botanic Garden--and touched on issues that rarely surface in the discourse on painting, from the feelings that a painting can engender to what the viewers can gain from the contemplation of an artwork. With generous photo documentation of Ryman's exhibition at Inverleith House, as well as the garden talk and other unguarded moments, this book-length conversation is essential fare for all fans of Ryman's work and working philosophy.

First Edition. First edition. Exhibition brochure for a show that ran October 13, 2006 through January 28, 2007. Single sheet folded three times to create 8 pages. Features text by Alex Baker. Includes color illustrations. A fine copy. Uncommon with no copies listed in OCLC.

Hardcover. Condition: Fine. No jacket.

First Edition. First edition. Softcover. Exhibition catalog for a show that ran June 15 through August 10, 1980. Features a foreword by Urs Raussmuller and an essay by Christel Sauer in English and German. Includes numerous black and white illustrations, biographical information, bibliography, and a checklist. A very good plus copy in wrappers that have some toning and some other minor wear. Internally a clean copy.

Soft cover. Condition: Very Good. 1st Edition. Qto., Approx 38 pages, 12 illustrations. Some light sun dading to the front cover, else a Very Good clean copy.

Paperback. Condition: Fine. First Edition. Exhibition catalogue. A Fine copy in smooth white wrappers. An essay, "Meditations on Installation Art" by Danoff. Color reproductions accompany a statement on each artist. 40pp. Color fold-outs. Q18846.

Softcover. Condition: Very Good+. First Edition. Very Good + first edition. Very Good + paperback slightly bumped at the lower corner. 59 pages, unmarked. No edition stated, no additional printings listed (first edition) . Translated by Brian Evenson. ; F Poe; 7.80 X 5.90 X 0.20 inches; 59 pages.

First edition, first printing. Fine invitation card to the private view of the exhibition.

Paperback with stitched spine. Condition: Near fine in wraps. Well-illustrated (illustrator). First Edition. 20 x 21cm unpaginated exhibition catalogue, cover to cover reproductions of white paintings.

Hardcover. Condition: As New. 1st Edition. Hardcover, 93 pages : illustrations (some colour) ; 27 cm. Fine/as new, still in publishers shrink wrap. At a time when Abstract Expressionism prevailed and was identified as an American-abstract art, artists with a different vision adopted a less painterly and subjective approach. These 'Minimal' artists attempted to remove expressive, narrative or symbolic interpretations for the viewer to concentrate on the qualities of form, colour, space and materials. To draw the viewer into a direct relationship with the artwork they created their own pictorial language, often based on the use of simple geometric forms and employed industrial materials. The Marzona Collection was shown in a museum context in Vienna at the Museum Moderner Kunst Stiftung Ludwig in 1995, then during the 2001 Venice Biennale at Villa Manin (and also in the Kunsthalle Bielefeld) and has been on long-term loan to the Staatliche Museen zu Berlin.

paperback. Condition: Very Good. profusely illustrated (illustrator). Catalogue for the exhibition of Robert Ryman paintings, The Pace Gallery New York December 3 1993 - January 22 1994, featuring 23 works in all; Japanese stab/pocket binding, white wraps with off-white titling. . unpaginated. square 8vo. Very Good.

Soft Cover. Condition: Fine. First Softcover Edition. soft cover, folded card-covers.no flaws or wear - clean, no writing/markings.no bumps, tears. strong sewn binding; appears unused. 236pp., 126 illustrations, including 81 color plates., catalogue contributions by catherine kinley, lynn zelevansky, linda norden. Size: 4to - over 9¾" - 12" tall. Exhibition Catalogue.

Softcover. Condition: Fine. No jacket.

Dust Jacket Condition: dj. First Edition. First edition. Hardcover. Exhibition catalog for a show that ran February 23 through March 24, 2018. Features an essay by Dieter Schwarz. Includes numerous color illustrations and a checklist. A fine copy in black cloth boards and from the library of Lucas Samaras with estate stamp to the front free endpaper and in a very near fine dust jacket. A very nice copy with an interesting provenance.