Charles Ashley Stainback (22 results)

Paperback. Condition: Fine. 1st. 64 pages, illustrations; 24 cm. Tight, clean copy. *** An artist critiques the media circus during the O.J. Simpson trial by turning his camera on the journalists covering the story. 3 essays. Size: 8vo.

Hardcover. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condition: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paper Back. Condition: Fine. Dust Jacket Condition: Near Fine Container. Limited. Box w/loose printed sheets; brwn.w/blk.&silver wrap; slight rub; sheets are in fine condition. limited edition of 1500. 28 artists' (w/bios) creations in which sound was either the subject matter or primary element of the piece.…

hardcover. Condition: Very Good. Hardcover with dust jacket. Book is in very nice condition, text is unmarked and pages are tight. Dust jacket has a few tiny closed tears on top edge. Dust jacket now nicely protected in mylar cover.

Hard cover. Condition: Very good. Dust Jacket Condition: Very good. Jacket is lightly worn along edges. Chips from bottom edge of jacket front cover and from top edge of back cover near spine. Cover corners are lightly worn. Binding is tight. Inside is clean and unmarked.

Hardcover without dustjacket as issued; 192 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

PAPERBACK. Condition: VG. WITH BOX & WRAP-AROUND-WRAPPER.

Condition: Very Good. Illustrated (some color), 35 loose unnumberd leaves, all except the first two of which are printed on both sides, in a slightly larger lidded card box. 26 cm.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Near Fine hardcover in a Near Fine dust jacket. First Edition, First Printing as stated. Overall a bright and attractive copy with no signs of wear or aging. 164 pp.

Trade Paperback. Condition: Used - Very Good. Missing the belly band aound the box. Nice clean tight copy.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine.

First Edition. First edition and first printing. Hardcover. 164 pages. Features essays by Charles Ashley Stainback and Mark Alice Durant and with the text of a conversation between Stainback and Muniz as well. Includes 75 color plates. A very near fine copy in an about very good dust jacket with some chips from the spine ends and some edge tears and wear to the corners. Still, a very nice copy of this important early monograph on Muniz.…

Paperback. Condition: New. New! May take up to 14 days to arrive. Sorry we don't offer expedited shipping on this item. -01x-.

Hardcover. Condition: new. New Copy. Customer Service Guaranteed.

Hardcover. Condition: New. In shrink wrap. Looks like an interesting title.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. Boldly signed and dated by Vic Muniz on early title page. Bright, crisp dust jacket with edge curl and two 1" tears to top rear, now protected in mylar cover. Tight binding, solid boards with sharp corners, slight spine lean, clean, unmarked pages throughout. 1st edition. Signed by Author(s). …

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 1st Printing. Signed. 165 pages. Retrospective collection of the artist/photographer's work. The First Hardcover Edition. Precedes and should not be confused with all other subsequent editions. Published in a small and limited first print run as a hardcover original only. The First Edition is now scarce. The production values are outstanding in every respect: Oversize-volume format. Pictorial hard boards with titles on spine, as issued. Art and photographs by Vik Muniz. Text by various scholar-contributors. Printed on pristine-white, thick coated stock paper by EBS in Verona, Italy to the highest standards. In matching pictorial DJ with titles on the spine, as issued. Published on the occasion of the retrospective exhibition of the same name held at at the International Center of Photography (ICP) New York from September 11 through November 15, 1998. Presents, in a stunningly beautiful production, Vik Muniz's "Seeing Is Believing". That is to say, seeing is NOT believing. "Best described as an artist who uses a camera, Vik Muniz blurs the line between painting, sculpture, and photography. He has made a number of different series of photographs in which he constructs images, often portraits, out of materials such as sugar, chocolate syrup, and thread. In another series, he drew famous images (using his aforementioned non-traditional media) like the photograph of Neil Armstrong on the moon, from memory. And through his work, viewers witness the complicated separation between a real image that seems definitely to exist somewhere, and the means by which Muniz achieves a representation of that image, first re-creating it, then making a photograph of it" (Publisher's blurb). Along with now-iconic artists such as Gerhard Richter, Richard Artschwager, and Thomas Demand, Vik Muniz comes to mind as re-thinking the whole idea of "representation", which is a foundational notion and function of photography, in order to make the point that photographic representation is as much a creative interpretation (of reality) as art, even at its most factual and realistic (rather than Surrealistic). "I have neither the interest nor the means to produce illusions that expand the concept of what an illusion is - George Lucas and Steven Spielberg are already doing that for us" (Vik Muniz). An absolute "must-have title for Vik Muniz collectors. This copy is magnificently signed in black pen-marker on the title page by Vik Muniz. It is signed directly on the page itself, not on a tipped-in page. Vik Muniz's signature on this copy is the most beautiful we have ever seen. This title is a great art photography book. This is one of very few such signed copies of the First Hardcover Edition/First Printing still available online and is in especially fine condition: Clean, crisp, and bright. Please note: Copies available online have serious flaws. This is surely an accessible and lovely alternative. A rare signed copy thus. 75 plates. One of the most brilliant artist/photographers of our time. A fine collectible copy. (SEE ALSO OTHER VIK MUNIZ TITLE IN OUR CATALOG). Signed by Author(s).…

Hardcover. Condition: Good. 1892041006 Good in a Good Jacket; Hardcover; 1998, Arena Editions Publishing; Jacket is moderately edgeworn with a couple edge-tears and a chip to the back top edge (Now fitted with a new, Brodart jacket protector); Light overall wear to covers with moderately "bumped" edge-corners and minor rubbing to the corners; Pages bright & unmarked; Tight binding with straight spine; Black dust jacket with art illustration of binoculars & title in white & black lettering along spine; 164 pages; "Seeing Is Believing," by Charles Ashley Stainback. …

Hardcover. First edition, first printing. Fine hardcover in a Fine dust jacket with one short closed tear by the crown and curling at the top edges. All dust jackets are protected by a clear mylar cover. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX. Photographs by Vik Muniz; essays by Charles Ashley Stainback and Mark Alice Durant; interview with Muniz by Stainback. 164 pages; 75 full-page color plates; 9.75 x 12.25 inches. Exhibition history, bibliography. The artist's first monograph, published in conjunction with his solo exhibition at the International Center of Photography, NYC; selected as one of the top ten photography books of 1998 by the New York Times Book Review. From the publisher: "Vik Muniz works with the syntax of photography, but his images are not simply photographic. Muniz's pictures are illusions that draw from the language of visual culture, but they twist and redefine our perception to both the commonplace and the fantastic. Muniz's images humorously, as well as critically, challenge our abilities to discern fact from fiction, reality from illusion. Utilizing a panoply of unorthodox materials--granulated sugar, tomato sauce, chocolate syrup, a 16,000-yard piece of sewing thread, and soil--Muniz first creates an image, sculpturally manipulates it, then photographs it. Whether a portrait, a landscape, or an iconic image from history, Muniz's images are never what they seem.".…

"Vik Muniz works with the syntax of photography, but his images are not simply photographic. As Vince Aletti has pointed out in the Village Voice, Muniz has teased the medium mercilessly and with an infectious glee. He makes pictures of picturessly, punning documents that subvert photography by forcing it to record not the natural world but a fiction, a simulation. Munizs pictures are illusions that draw from the language of visual culture, but they twist and redefine our perception to both the commonplace and the fantastic. Munizs images humorously, as well as critically, challenge our abilities to discern fact from fiction, reality from illusion. Utilizing a panoply of unorthodox materialsgranulated sugar, tomato sauce, chocolate syrup, a 16,000-yard piece of sewing thread, and soilMuniz first creates an image, sculpturally manipulates it, then photographs it. Whether a portrait, a landscape, or an iconic image from history, Munizs images are never what! they seem. This book, the artist s first monograph, is produced in conjunction with Munizs one-person exhibition at the International Center of Photography in New York, opening September 1998., Best described as an artist who uses a camera, Vik Muniz blurs the lines between painting, sculpture, and photography. He has made a number of different series of photographs in which he constructs images--often portraits--out of materials such as sugar, chocolate syrup, and thread. In another series, he drew famous images (using his aforementioned nontraditional media), like the photograph of Neil Armstrong on the moon, from memory. Muniz plays freely in the field of representation. And through his work, viewers witness the complicated separation between a real image that seems definitely to exist somewhere, and the means by which Muniz achieves a representation of that image--first re-creating it, then making a photograph. He writes that "illusion becomes a way to improve our understanding of what reality is and humor becomes a subject for serious investigation." By setting up images that aim to unsettle viewers` perceptual faculties as a way of expanding understanding, and stimulating discovery, Muniz takes part in a trend in image-making that includes artists such as Gerhard Richter, Richard Artschwager, and Thomas Demand. Published alongside his solo exhibition at the International Center of Photography in New York, Seeing Is Believing is the first monograph on Vik Muniz. The book includes essays by Charles Ashley Stainback and by Mark Alice Durant, as well as a dialogue between Muniz and Stainback." 4°. 164 S., ca 100 Abb., ill. OPappband mit OUmschl., Ecken etw. b.…

Condition: Near fine. Limited edition, one of 1500 copies. Large octavo; issued in box with the paper wrap around band intact, 27 x 22 x 3 cm. 33 leaves, 4 pages : illustrations (some in color). S.O.S.: Scenes of Sounds, one of the inaugural exhibitions of The Tang, laid the groundwork for the laboratory-like approach: the focus was not on traditional museum fare, but on sound - something to hear first, not necessarily see. The exhibition was an unconventional and exploratory display of art and material culture, which included an interactive work by Alan Berliner, a Chatty Cathy doll from 1959 and an outdoor sound sculpture by Beverley Estabrook Mastrianni that asked visitors provocative questions about their museum experience. Catalog of an exhibition including works by Laurie Anderson, Wallace Berman, Nick Cave, Bruce Nauman, Andy Warhol and many others. loose portfolio in a cardboard box.…