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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years(...)
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years(...)
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Susan Cianciolo: the lilac spaceship fanzine
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years involved the collaboration of some of New York�s leading artists and musicians. The Lilac Spaceship Fanzine, created over the last year, embodies the idea of what has been Cianciolo�s most fond images to be inspired by and the complete joy and magical beauty of having her baby - Lilac Sky - who inspired the completion and the title of this publication, �..since she is another dimension, just like a space ship!�. Susan Cianciolo has been included in i-D�s Fashion Now book, among 150 of the most important designers of our times, and she has been one of the pioneers in using eco friendly materials in her collections. Her illustrations and paintings have also been exhibited worldwide in several galleries and museums.
Susan Cianciolo: the lilac spaceship fanzine
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Susan Cianciolo (Rhode Island, 1969) is a New York based fashion designer and artist. Cianciolo began her career in 1995 after graduating from Parson�s School of Design, by collaborating with Kim Gordon on the X-Girl clothing line, while around the same time starting her own Run collection � mixing clothing with film and performance art � which for 10 years involved the collaboration of some of New York�s leading artists and musicians. The Lilac Spaceship Fanzine, created over the last year, embodies the idea of what has been Cianciolo�s most fond images to be inspired by and the complete joy and magical beauty of having her baby - Lilac Sky - who inspired the completion and the title of this publication, �..since she is another dimension, just like a space ship!�. Susan Cianciolo has been included in i-D�s Fashion Now book, among 150 of the most important designers of our times, and she has been one of the pioneers in using eco friendly materials in her collections. Her illustrations and paintings have also been exhibited worldwide in several galleries and museums.
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July 2008, Z�rich
July 2008, Z�rich
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Campo Santo
Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own(...)
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own(...)
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Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own curmudgeonly presence. The essays, however, feel unfinished, lacking polish and structural integrity. The collection is split into two parts, "Prose" and "Essays," with the first—a series of considerations of the landscape, history and social milieu of the island of Corsica—by far the more successful. The second, longer section contains an assortment of literary critical pieces, some detailed, such as a long essay about novelists writing about the destruction of German cities during WWII; others discursive, such as an apparently unfinished review of a book about Kafka's relationship with film that wanders from films Sebald himself viewed to films Kafka may or may not have seen. Although Sebald was a beautiful and intelligent writer, it's hard to see how these essays will appeal to anyone outside of scholars and already committed Sebald fans eager to read every word he ever set to paper.
Campo Santo
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This brief volume is the latest and reportedly last collection of essays by German novelist and critic Sebald, who has seemed more prolific since his death in 2001 than in life. Despite the masterful translation, these essays fail to cohere, though they contain elements common to most of Sebald's work: an integration of art, politics and memory, framed by the writer's own curmudgeonly presence. The essays, however, feel unfinished, lacking polish and structural integrity. The collection is split into two parts, "Prose" and "Essays," with the first—a series of considerations of the landscape, history and social milieu of the island of Corsica—by far the more successful. The second, longer section contains an assortment of literary critical pieces, some detailed, such as a long essay about novelists writing about the destruction of German cities during WWII; others discursive, such as an apparently unfinished review of a book about Kafka's relationship with film that wanders from films Sebald himself viewed to films Kafka may or may not have seen. Although Sebald was a beautiful and intelligent writer, it's hard to see how these essays will appeal to anyone outside of scholars and already committed Sebald fans eager to read every word he ever set to paper.
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January 1900, New York
January 1900, New York
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point(...)
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point(...)
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November 2004, New York
November 2004, New York
Title:
Michael Wesely : open shutter : the museum of modern art
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point where he can extend the exposure many thousands of times longer than we would ordinarily expect. Some of Wesely’s pictures of the rebuilding of Berlin’s Potsdamer Platz, for example, in a series completed in 1999, were continuously exposed over a period of 26 months. The results of Wesely’s explorations are as surprising as they are beautiful. In 2001, as The Museum of Modern Art began to prepare for its ambitious construction and renovation project, a turning point in its history, it recognized in Wesely’s work an unequalled opportunity to artistically document that project. In August of that year, then, Wesely set specially designed cameras in long-term installations in and around the museum, choosing his locations for the construction views they provided. Nearly three years later, the images are complete, and their pentimento-like strata of transparencies and overlays render the construction project’s evolution in time as a dense and delicate network of forms and colors in space. "Open shutter" accompanies an exhibition organized by Sarah Hermanson Meister, Associate curator of the museum’s Department of photography. Included in the book are several images of the construction of the new Museum of Modern Art.
Michael Wesely : open shutter : the museum of modern art
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point where he can extend the exposure many thousands of times longer than we would ordinarily expect. Some of Wesely’s pictures of the rebuilding of Berlin’s Potsdamer Platz, for example, in a series completed in 1999, were continuously exposed over a period of 26 months. The results of Wesely’s explorations are as surprising as they are beautiful. In 2001, as The Museum of Modern Art began to prepare for its ambitious construction and renovation project, a turning point in its history, it recognized in Wesely’s work an unequalled opportunity to artistically document that project. In August of that year, then, Wesely set specially designed cameras in long-term installations in and around the museum, choosing his locations for the construction views they provided. Nearly three years later, the images are complete, and their pentimento-like strata of transparencies and overlays render the construction project’s evolution in time as a dense and delicate network of forms and colors in space. "Open shutter" accompanies an exhibition organized by Sarah Hermanson Meister, Associate curator of the museum’s Department of photography. Included in the book are several images of the construction of the new Museum of Modern Art.
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November 2004, New York
November 2004, New York
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xii, 318 pages : illustrations ; 24 cm
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xii, 318 pages : illustrations ; 24 cm
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Woodbridge, Suffolk : The Boydell Press, 2017., ©2017
Woodbridge, Suffolk : The Boydell Press, 2017., ©2017
Title:
Charles Robert Cockerell in the Mediterranean : letters and travels, 1810-1817 / Susan Pearce and Theresa Ormrod.
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xii, 318 pages : illustrations ; 24 cm
Charles Robert Cockerell in the Mediterranean : letters and travels, 1810-1817 / Susan Pearce and Theresa Ormrod.
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xii, 318 pages : illustrations ; 24 cm
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Woodbridge, Suffolk : The Boydell Press, 2017., ©2017
Woodbridge, Suffolk : The Boydell Press, 2017., ©2017
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Ant Farm 1968-1978
Ant Farm 1968-1978
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This richly illustrated book, created to accompany the traveling exhibition of the same name, provides a fascinating critical overview of Ant Farm, the radical architecture collective that brought us Cadillac Ranch, Media Burn, and The Eternal Frame. Established by several young renegade architects in 1968, Ant Farm was a collaborative art and design group eager to bring(...)
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This richly illustrated book, created to accompany the traveling exhibition of the same name, provides a fascinating critical overview of Ant Farm, the radical architecture collective that brought us Cadillac Ranch, Media Burn, and The Eternal Frame. Established by several young renegade architects in 1968, Ant Farm was a collaborative art and design group eager to bring(...)
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Publication:
February 2004, Berkeley
February 2004, Berkeley
Title:
Ant Farm 1968-1978
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This richly illustrated book, created to accompany the traveling exhibition of the same name, provides a fascinating critical overview of Ant Farm, the radical architecture collective that brought us Cadillac Ranch, Media Burn, and The Eternal Frame. Established by several young renegade architects in 1968, Ant Farm was a collaborative art and design group eager to bring to its practice a revolutionary spirit more consistent with the times. Its vision encompassed creations for a nomadic lifestyle, including inflatable structures and radical environments that culminated in projects such as the organically appointed House of the Century and the unrealized aquatic edifice The Dolphin Embassy. Ant Farm 1968-1978 explores the sweeping career of this inspired and inspiring visionary collective as its architectural projects broadened to embrace a range of undertakings that challenged the visual architecture of image, icon, and power. Constance Lewallen provides an in-depth, anecdotally rich interview with founding members Chip Lord, Doug Michels, and Curtis Schreier. An essay by Michael Sorkin gives the multivalent cultural context for Ant Farm's radical architecture. Steve Seid takes a comprehensive look at Ant Farm's influential videotapes. Caroline Maniaque's "Searching for Energy" details the group's inflatable structures in relationship to contemporaneous architects working in a similar vein. The catalog also includes a substantial excerpt from Chip Lord's 1976 meditation on car culture, with a new epilogue; a graphically playful timeline recounting Ant Farm's essential art projects; and a rich montage of images and ephemera capturing the humor, originality, and prescience of this feisty enterprise.
Ant Farm 1968-1978
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This richly illustrated book, created to accompany the traveling exhibition of the same name, provides a fascinating critical overview of Ant Farm, the radical architecture collective that brought us Cadillac Ranch, Media Burn, and The Eternal Frame. Established by several young renegade architects in 1968, Ant Farm was a collaborative art and design group eager to bring to its practice a revolutionary spirit more consistent with the times. Its vision encompassed creations for a nomadic lifestyle, including inflatable structures and radical environments that culminated in projects such as the organically appointed House of the Century and the unrealized aquatic edifice The Dolphin Embassy. Ant Farm 1968-1978 explores the sweeping career of this inspired and inspiring visionary collective as its architectural projects broadened to embrace a range of undertakings that challenged the visual architecture of image, icon, and power. Constance Lewallen provides an in-depth, anecdotally rich interview with founding members Chip Lord, Doug Michels, and Curtis Schreier. An essay by Michael Sorkin gives the multivalent cultural context for Ant Farm's radical architecture. Steve Seid takes a comprehensive look at Ant Farm's influential videotapes. Caroline Maniaque's "Searching for Energy" details the group's inflatable structures in relationship to contemporaneous architects working in a similar vein. The catalog also includes a substantial excerpt from Chip Lord's 1976 meditation on car culture, with a new epilogue; a graphically playful timeline recounting Ant Farm's essential art projects; and a rich montage of images and ephemera capturing the humor, originality, and prescience of this feisty enterprise.
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books
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February 2004, Berkeley
February 2004, Berkeley
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sale books
sale books
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Title:
Lyle Gomes : imagining Eden
Lyle Gomes : imagining Eden
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also(...)
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also(...)
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November 2005, Charlottesville, London
November 2005, Charlottesville, London
Title:
Lyle Gomes : imagining Eden
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also recognize this concept in Eden, of course, where it suggests a loss that still haunts our imaginations. It is an idea distinctly different from that of wilderness, for we feel protected in these places—even provided for, though there is no sign of toil. The chance that this Eden might somehow be regained gives the concept its consolatory power. For fifteen years, Gomes has traveled across America and Europe to find examples of this enduring ideal of place in parks, English gardens, even golf courses. Gomes’s search took him to Mount Auburn cemetery, Central Park, Monticello, the San Francisco Presidio, villa gardens near Italy’s Lake Como, Melbourne Hall in Derbyshire, and private gardens such as Biltmore and Dumbarton Oaks. "Imagining Eden" includes an introductory essay in which the landscape historian Denis Cosgrove explores how the concept of the locus amoenus relates to Gomes’s work, and the photographs are accompanied by an evocative selection of quotes by the various settings designers and by inspired observers. The book concludes with an extensive interview in which Gomes discusses how he balances craft and inspiration, the role of research in preparing a shoot, his preference for black-and-white over color (“I was completely, and immediately, enamored with the silver image”), and a sense of discovery as a chief motivation in all his work.
Lyle Gomes : imagining Eden
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What did Eden look like? In "Imagining Eden", the photographer Lyle Gomes observes landscapes that represent the idea of locus amoenus—the pleasant place. The tradition of locus amoenus goes back to the idyllic descriptions of fictional locations, often called Arcadia, in the writings of Sappho, Apollonius, and Virgil, in the imagined period of the Golden Age. We also recognize this concept in Eden, of course, where it suggests a loss that still haunts our imaginations. It is an idea distinctly different from that of wilderness, for we feel protected in these places—even provided for, though there is no sign of toil. The chance that this Eden might somehow be regained gives the concept its consolatory power. For fifteen years, Gomes has traveled across America and Europe to find examples of this enduring ideal of place in parks, English gardens, even golf courses. Gomes’s search took him to Mount Auburn cemetery, Central Park, Monticello, the San Francisco Presidio, villa gardens near Italy’s Lake Como, Melbourne Hall in Derbyshire, and private gardens such as Biltmore and Dumbarton Oaks. "Imagining Eden" includes an introductory essay in which the landscape historian Denis Cosgrove explores how the concept of the locus amoenus relates to Gomes’s work, and the photographs are accompanied by an evocative selection of quotes by the various settings designers and by inspired observers. The book concludes with an extensive interview in which Gomes discusses how he balances craft and inspiration, the role of research in preparing a shoot, his preference for black-and-white over color (“I was completely, and immediately, enamored with the silver image”), and a sense of discovery as a chief motivation in all his work.
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November 2005, Charlottesville, London
November 2005, Charlottesville, London
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Patterns of the Earth
Patterns of the Earth
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This book celebrates the patterns and abstract forms found in nature. Bernhard Edmaier’s aerial photographs show the beautiful shapes formed on the earth’s surface by rocks, ice, sand, water, trees and plants. The hundreds of images in this book make us look at the world in a new way, by showing us surprising similarities and unexpected links between the most disparate(...)
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This book celebrates the patterns and abstract forms found in nature. Bernhard Edmaier’s aerial photographs show the beautiful shapes formed on the earth’s surface by rocks, ice, sand, water, trees and plants. The hundreds of images in this book make us look at the world in a new way, by showing us surprising similarities and unexpected links between the most disparate(...)
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Patterns of the Earth
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This book celebrates the patterns and abstract forms found in nature. Bernhard Edmaier’s aerial photographs show the beautiful shapes formed on the earth’s surface by rocks, ice, sand, water, trees and plants. The hundreds of images in this book make us look at the world in a new way, by showing us surprising similarities and unexpected links between the most disparate regions of the planet. Instead of seeing a forest or a desert or a field, we see circles and lines, zigzags and spirals, abstract shapes and precise repetition occurring in the most unexpected places. In this book, Edmaier`s photographs are organized by shape and form into clearly defined sections, with tabbed pages for easy access. Each section features short texts explaining where the types of patterns depicted in that chapter are found and how they are formed. In additon, every picture has a caption describing the location of the depicted pattern, and how it was created.
Patterns of the Earth
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This book celebrates the patterns and abstract forms found in nature. Bernhard Edmaier’s aerial photographs show the beautiful shapes formed on the earth’s surface by rocks, ice, sand, water, trees and plants. The hundreds of images in this book make us look at the world in a new way, by showing us surprising similarities and unexpected links between the most disparate regions of the planet. Instead of seeing a forest or a desert or a field, we see circles and lines, zigzags and spirals, abstract shapes and precise repetition occurring in the most unexpected places. In this book, Edmaier`s photographs are organized by shape and form into clearly defined sections, with tabbed pages for easy access. Each section features short texts explaining where the types of patterns depicted in that chapter are found and how they are formed. In additon, every picture has a caption describing the location of the depicted pattern, and how it was created.
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November 2006, London, New York
November 2006, London, New York
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$29.99
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In 1825 the Erie Canal, connecting the Atlantic with the American heartland via the Great Lakes, was completed, and in 1861 the Civil War, disrupting American unity, began. This volume examines the exhilarating period between these two far-reaching events. The(...)
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In 1825 the Erie Canal, connecting the Atlantic with the American heartland via the Great Lakes, was completed, and in 1861 the Civil War, disrupting American unity, began. This volume examines the exhilarating period between these two far-reaching events. The(...)
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Publication:
October 2000, New York
October 2000, New York
Title:
Art and the empire city : New York, 1825-1861
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In 1825 the Erie Canal, connecting the Atlantic with the American heartland via the Great Lakes, was completed, and in 1861 the Civil War, disrupting American unity, began. This volume examines the exhilarating period between these two far-reaching events. The Erie Canal turned the port of New York into the gateway to the United States, ushering in a time of enormous growth and change for the city of New York. Still very much a work in progress, New York became both an international economic and cultural center: it was transformed into what contemporary observers variously termed the Empire City, the Great Emporium, and the Empress City of the West. The cultural component of this transformation was as significant as its economic aspect. Highly skilled artists and craftsmen working in New York, both native born and immigrant, grew in number, and institutions devoted to the arts emerged and flourished. With Broadway at its heart, the Great Emporium developed into the nation’s major manufacturing and retailing center, the depot for luxury goods made in and around the city and imported from Europe. The complex story of the proliferation of the arts in New York and the evolution of an increasingly discerning audience for those arts during the antebellum period is the focus of this book, which accompanies a major exhibition at The Metropolitan Museum of Art. In essays that will interest scholars as well as a more general audience, specialists from the Metropolitan Museum, the Museum of the City of New York, and the University of California at Berkeley bring new research and insights to bear on a broad range of subjects. Their texts offer both historical and cultural contexts and explore the city’s development as a nexus for the marketing and display of art, as well as private collecting; landscape painting viewed against the background of tourism; new departures in sculpture, architecture, and printmaking; the birth of photography; New York as a fashion center; shopping for home decorations; changing styles in furniture; and the evolution of the ceramics, glass, and silver industries. This volume is lavishly illustrated in color and black and white, providing reproductions of the more than three hundred works in the exhibition as well as comparative material. A checklist of works in the exhibition, a bibliography, and an index are included.
Art and the empire city : New York, 1825-1861
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In 1825 the Erie Canal, connecting the Atlantic with the American heartland via the Great Lakes, was completed, and in 1861 the Civil War, disrupting American unity, began. This volume examines the exhilarating period between these two far-reaching events. The Erie Canal turned the port of New York into the gateway to the United States, ushering in a time of enormous growth and change for the city of New York. Still very much a work in progress, New York became both an international economic and cultural center: it was transformed into what contemporary observers variously termed the Empire City, the Great Emporium, and the Empress City of the West. The cultural component of this transformation was as significant as its economic aspect. Highly skilled artists and craftsmen working in New York, both native born and immigrant, grew in number, and institutions devoted to the arts emerged and flourished. With Broadway at its heart, the Great Emporium developed into the nation’s major manufacturing and retailing center, the depot for luxury goods made in and around the city and imported from Europe. The complex story of the proliferation of the arts in New York and the evolution of an increasingly discerning audience for those arts during the antebellum period is the focus of this book, which accompanies a major exhibition at The Metropolitan Museum of Art. In essays that will interest scholars as well as a more general audience, specialists from the Metropolitan Museum, the Museum of the City of New York, and the University of California at Berkeley bring new research and insights to bear on a broad range of subjects. Their texts offer both historical and cultural contexts and explore the city’s development as a nexus for the marketing and display of art, as well as private collecting; landscape painting viewed against the background of tourism; new departures in sculpture, architecture, and printmaking; the birth of photography; New York as a fashion center; shopping for home decorations; changing styles in furniture; and the evolution of the ceramics, glass, and silver industries. This volume is lavishly illustrated in color and black and white, providing reproductions of the more than three hundred works in the exhibition as well as comparative material. A checklist of works in the exhibition, a bibliography, and an index are included.
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books
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Publication:
October 2000, New York
October 2000, New York
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Gordon's photography prices.
Gordon's photography prices.
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1 online resource
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1 online resource
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Publication:
Naples, Fla. : Gordon's Art Reference, Inc., 1999-
Naples, Fla. : Gordon's Art Reference, Inc., 1999-
Publication:
Naples, Fla. : Gordon's Art Reference, Inc., 1999-
Naples, Fla. : Gordon's Art Reference, Inc., 1999-
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150 pages : illustrations, maps ; 23 x 25 cm
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150 pages : illustrations, maps ; 23 x 25 cm
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Exeter, Devon : Devon Books ; Newton Abbot, Devon : Sales and distribution, Town & County Books, 1987.
Exeter, Devon : Devon Books ; Newton Abbot, Devon : Sales and distribution, Town & County Books, 1987.
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Citadel : a history of the Royal Citadel, Plymouth / F.W. Woodward.
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150 pages : illustrations, maps ; 23 x 25 cm
Citadel : a history of the Royal Citadel, Plymouth / F.W. Woodward.
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150 pages : illustrations, maps ; 23 x 25 cm
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Exeter, Devon : Devon Books ; Newton Abbot, Devon : Sales and distribution, Town & County Books, 1987.
Exeter, Devon : Devon Books ; Newton Abbot, Devon : Sales and distribution, Town & County Books, 1987.
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