Rainer Crone David Moos (110 results)

Hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. 1st Edition. Oversize. Book is Fine. Spine head of dust jacket a little crinkled, with a short tear.

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Chicago: University of Chicago Press. 1991. First edition. Black cloth. 230 pages. 155 illustrations, many in A near fine, brighnt and clean copy with the dust jacket in a mylar protector. All books shipped in boxes.

Paperback. Condition: New. Color exhibition card laid in. Exhibition catalog illustrated in color. 36 pages.

Oversized Hardcover. Condition: Good. Against the background of Russian progressive cultural and scientific movements, this volume traces the close relationship between Malevich's writings and work and other contemporary nonpolitical revolutions: relativity and quantum theory; Roman Jakobson and the 'Prague School' in linguistics. The authors draw analogies between vanguard structuralist poetry and Malevich's postcubist works. A close reading of Malevich's later figurative paintings solidifies the geniusof his extraordinarily inventive stance. Situating Malevich in terms of an all-pervasive modernist subjectivity, this work transmits the artist's thinking as well as his work. 230p.…

Hardcover with dustjacket, 230 pages, very good condition; no internal marks, clean and crisp. Foreign shipping may be extra.

Softcover, 230 pages, very good condition; no internal marks, clean and crisp. Foreign shipping may be extra.

Hardcover. Condition: Near Fine. Near Fine. First Edition. Size: 4to - over 9¾" - 12" tall. Book.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. Oversized hardback book (230 pages)illustrated with vintage black and white photographs and color reproductions of the artist work. Dust jacket shows scuffing/rubbing with small nicks at edge. INTERNATIONAL SHIPPING WILL REQUIRE ADDITIONAL CHARGE. Bookseller since 1995 (LL-Base2-E-Top-Flat) rareviewbooks.…

Soft cover. Condition: Near Fine. Near fine copy.

Paperback. Condition: Very Good. With presentation letter by Jane Laudi tucked inside. Pages unmarked, mild wear.

hardcover. Condition: Very Good. First Edition. First Printing. Hardcover in Dust Jacket. Pages clean, unmarked. Cover and Jacket have light wear. Small patch of sticker residue inside front cover. Shipped promptly with Tracking. MISC8.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Light wear to jacket otherwise very clean and sound. Includes 155 b/w and color illustrations. 230 pgs. Mylar plastic covers jacket.

Condition: New.

Condition: New. Brand New.

Hardcover. Condition: New. Black cloth with white spine lettering, black glossy color illustrated dustjacket. viii, 230 pp., 155 illustrations, including 50 in color. Kasimir Malevich's (1878-1935) sudden and startling realization of a nonrepresentational way of painting, which he called Suprematism, stands as a seminal moment in twentieth-century art. Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine to his involvement with Futurist circles in Moscow through to the late 1920s and beyond. They convincingly demonstrate that Malevich's late representational painting, still widely misunderstood, solidifies his extraordinarily inventive stance. Against the historical background of distinctly Russian progressive cultural and scientific movements, the authors define affinities between Malevich's work and other nonpolitical revolutions: relativity and quantum theory in physics the work of Roman Jakobson and the "Prague School" in linguistics and the exploration of language in the writings of the poet Velimir Khlebnikov. They situate the artist within the fundamental epistemological shift from nineteenth-century objectivity to an all-pervasive modernist subjectivity, relying upon Malevich's contribution to illustrate the ways cultural production is mediated through various modes of transmission. Rainer Crone holds the Chair for Twentieth Century Art at Ludwig-Maximilians-Universitä ;t, Munich, and is adjunct professor of art history at Columbia University. David Moos is a doctoral candidate in art history at Columbia University. Contents as follows: Introduction: This book . and the end of experience -- 1. The question of information -- 2. Artistic positions: a critical survey -- 3. Origins of a painter -- 4. Cubo-futurism: interchanges -- 5. Passages through poetry -- 6. The edge of innovation -- 7. Subjectivity in temporality -- 8. Late sensations and the new reality -- 9. The free imaginary variation -- Exhibitions.…

First Edition. First edition. Softcover. 36 pages. Exhibition catalog for a show that ran October 11 thorugh November 10, 1990. Features text by David Moos and Rainer Crone. Includes several color and black and white illustrations with one gatefold and a checklist and brief biographical information. A very near fine copy in wrappers. …

Original Cloth. Condition: Fine. Dust Jacket Condition: Fine. First Edition. A crisp, clean Fine copy with a trace of foxing to the top edges in a Fine mylar-protected dust jacket (front slightly rubbed and back has some rubbing and light scratches). A crisp, unread copy. 230 pp., profusely illustrated in color and B&W, extensive bibliography and index. The authors define the influences that shaped the dramatic shift in Malevich's oeuvre- from his early examination of Cezanne and his involvement in Futurist circles to his rejection of mimesis and to the final wprks following 1927.…

Hardcover. Condition: Good. All of our books without an ISBN number (normally pre-1970 in date) are described individually in detail. Books with an ISBN number (this one included) are all offered for sale in good condition or better: some may be in very good, near fine, or fine condition. If the condition is critical to your decision to purchase, then please contact us and we will let you know our view of its condition. If the book is very heavy, we will may need to contact you before completion of purchase to advise you of extra postage costs.…

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Used - Very Good. Kasimir Malevich's (1878-1935) sudden and startling realization of a nonrepresentational way of painting, which he called Suprematism, stands as a seminal moment in twentieth-century art. Rainer Crone and David Moos trace the artist's development from his beginnings in the Ukraine to his involvement with Futurist circles in Moscow through to the late 1920s and beyond. They convincingly demonstrate that Malevich's late representational painting, still widely misunderstood, solidifies his extraordinarily inventive stance. Against the historical background of distinctly Russian progressive cultural and scientific movements, the authors define affinities between Malevich's work and other nonpolitical revolutions: relativity and quantum theory in physics; the work of Roman Jakobson and the 'Prague School' in linguistics; and the exploration of language in the writings of the poet Velimir Khlebnikov. They situate the artist within the fundamental epistemological shift from nineteenth-century objectivity to an all-pervasive modernist subjectivity, relying upon Malevich's contribution to illustrate the ways cultural production is mediated through various modes of transmission. Rainer Crone holds the Chair for Twentieth Century Art at Ludwig-Maximilians-Universitä t, Munich, and is adjunct professor of art history at Columbia University. David Moos is a doctoral candidate in art history at Columbia University. Very nice clean, tight copy free of any marks.…

Condition: Gut. Erstauflage dieser Ausgabe. Bll. + 230 S. inkl. Anhang mit Bibliographie u. Index, u. mit s/w. u. vielen farb. Abbildungen der Werke u.a. Papier minimal randvergilbt. Sprache: Englisch Gewicht in Gramm: 1215 Mittl.-4°, O(Schwarz)-GanzLnw. mit weißgepr.-Rückentitel u. OIll.-Umschlag (U. mit geringf. Gebrauchsspuren). Gut erhalten.…

paperback. Condition: Very Good. Very Good paperback with light shelfwear - NICE! Oversized.

Paperback. Condition: New. Kazimir Malevich (1878-1935) rose to instant prominence among the Russian avant-garde when, in December 1915, he contributed thirty-nine paintings to an exhibition in Leningrad which were of such a reduced and sophisticated abstract quality that even today they seem to possess a luminous conceptual power. Malevich's sudden and startling realization of a non-objective way of painting - which he termed Suprematism - stands as a seminal moment in the history of 20th-century art.In Kazimir Malevich: The Climax of Disclosure, now available in a compact pocket format, Rainer Crone and David Moos trace the artist's development from his beginnings in Ukraine and early years in Moscow - where he was closely involved in the Futurist circle - through to the late 1920s and beyond. The authors demonstrate that it is only through a close and sustained reading of Malevich's late - and still widely misunderstood - painterly ouvre that his extraordinarily inventive stance can truly be comprehended. Crone and Moos trace the close relationship between Malevich's practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.…

Rilegato. Condition: fine. English Text.München, 1991; bound, pp. 230, b/w and col. ill., cm 22x29. Libro.

185 pp.; 26.5 x 26.7 cm.; glue bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; April 1989 issue of Artforum, edited by Ida Panicelli. Contents include: "Remote Control: Barbara Kruger on Television" by Barbara Kruger; "The Cave: Michele Wallace on Invisibility Blues" by Michele Wallace; "Environment: Vilem Flusser on Future Architecture" by Vilem Flusser; "Expertease: Silvia Kolbowski on Knowledge and Power" by Silvia Kolbowski; "Like Art: Glenn O'Brien on Advertising," by Glenn O'brien; "Books: Alice Yaeger Kaplan on 'Nuclear Fear,'" by Alice Yaeger Kaplan; "Signs of Light: Walker Evans' American Photographs," by Max Kozloff; "Subjectivity in Time: Kasimir Malevich," by Rainer Crone and David Moos; "Protection: A Project for Artforum," by Christian Boltanski and Annette Messager; "The Erography of Cy Twombly," by Demosthenes Davvetas; "We ? New Jersey," by Komar & Melamid; "The Passageway: A Project for Artforum," by Wolgang Laib; "Words around Warhol," by Jack Bankowsky; "Space around Warhol," by Herbert Muschamp; "The Phoenix of the Self," by John Yau; "Turning Japenese (In)," by John Welchman "Ambitious: A project for Artforum," by Janet Zweig. Reviews by Bill Berkson, Charles Hagen, Donald Kuspit, John Yau, Patricia C. Phillips, David Rimanelli, Matthew A. Weinstein, Catherine Liu, Kirby Gookin, Dennis Cooper, Ronny Cohen, Jude Schwendenwien, Lois E. Nesbitt, Richard C. Ledes, John Howell, Francine A. Koslow, Eileen Neff, Howard Risatti, Glenn Harper, Linda Frye Burnham, Donald Kuspit, James Yood, Joan Seeman Robinson, Bill Berkson, David Levi Strauss, Colin Gardner, Amy Gerstler, Benjamin Weissman, Susan Freudenheim, Catherine Cafapoulos, Alessandra Mammi, Anthony Iannacci, Gloria Moure, Alexandre Melo, Daniel Soutif, Max Weschsler, Helmut Draxler, Noemi Smolik, Justin Hoffman, Norbert Messler, Martin Hentschel, Doris von Drateln, Michael Tarantino, Michael Archer. Cover: Komar & Melamid. Fair / Good. Yellowing and dusting of covers with curl and rippling to left side edge of publication and light creasing. Rubbing of covers. 2 cm. tear to verso carrying through to last 20 pages. Contents otherwise clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.…

Hardcover. Condition: Good. No Jacket. Edition Not Stated. Curl to boards, front with vertical thin stain (crayon?). Text and illustrations very good+ to fine. Expedited or International shipping may cost more.

Hardcover. Condition: Gut bis sehr gut. Dust Jacket Condition: Ohne Schutzumschlag. 1. Auflage. 172 pages with 43 coloured plates.