Schwartz Joyce Pomeroy (33 results)

Paperback. Condition: Very Good. crisp clean w/light shelfwear/edgewear - may have remainder mark Oversized.

hardcover. Condition: Acceptable. May have underlining, highlighting, margin notes, remainder marks, inscriptions, book plates, tears, significant wear, and/or a missing dust jacket, box, or discs. Damaged item.

Softcover staple bound, 24 pages, very good condition, no internal marks, clean and crisp. Includes: Vito Acconci, Janet Biggs, Elba Damast, Claudia De Monte, Lauren Ewing, Adrienne Heinrich, Jane Kaufman, Fernand Leger, Walter Martin, Heather Nicol, Lucas Samaras, David Saunders, Robert Zakanitch.

Soft cover. Condition: Very Good. All images in vivid full color. No marks in text. Not a library book. Ships in a cardboard enclosure. Thank you from Tim's Used Books, open shop in Provincetown, Massachusetts, founded 1991. The home of good books at sane prices. 12 11 23.

Condition: New. Brand New! Not Overstocks or Low Quality Book Club Editions! Direct From the Publisher! We're not a giant, faceless warehouse organization! We're a small town bookstore that loves books and loves it's customers! Buy from Lakeside Books!

Hardback or Cased Book. Condition: New. The Private Eye in Public Art. Book.

Paperback. Condition: Fine. First Edition. Softcover in illustrated wraps. First printing. Fine, As New condition. Catalogue published to accompany a traveling exhibit of women artists that launched at the National Museum of Women in the Arts in Washington, D. C. , in 2004. All plates in color. 4t0. 63 pp.

Wrappers. Condition: Near Fine. 42 pages. Oblong format softcover, staple bound with stiff printed paper covers. Texts in English. Numerous illustrations in black and white. Some wear to the edges of the covers, including some at the lower right corner of the front cover, with some tears on the back cover possibly consistent with the removal of previous price stickers. Published in conjunction with the exhibition held from October 4-November 16, 1985.

Condition: New.

Hardcover. Condition: new. Hardcover. Challenging the hegemony of museums and yearning to communicate with a larger diverse audience, trailblazing conceptual artists and land artists found support in newly developed and expanded programs of the NEA and the GSA.This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Why is there so much bad public art? How can the overall standard of public art be improved? What professional practices sponsor the best art for architecture and the environment? How can the artist selection process ensure that only superior artists are commissioned? Aesthetic judgements are implicit in museums exhibitions and acquisitions. Why should art in public places be held to a lesser standard? How can myriad interests of the community and individuals be harnessed to the higher goal of choosing the best artists for a project.It is a central contention of the book that despite the numerous constraints encountered in any commission, the most excellent public art expresses and even accentuates the personal, innovative vision of the artist. Approaches that compromise that vision, especially those that try to be all things to all people, inevitably diminish the dynamism and uniqueness of the final work. In the best public art, imagination, originality, passion, and even impulsiveness characterise the work of those artists who, while reaching out to a broader public, paradoxically search for new ideas often antithetical to the rules, materialistic culture, and social practices of the community. Many projects have demonstrated that art that seems different, difficult, and provocative can, in time, become familiar and comprehensible in a public setting and resonate more effectively than conventional solutions. This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: Very Good. First edition. oblong small quarto, stapled gray wraps, 41 pages. Exterior lightly soiled.

Paperback. Condition: VG. Color-illustrated wraps with white lettering. 24 pp. Color illustrations. Catalogue of an exhibition from Januaryn 27 to October 31, 1996.

Softcover. Condition: VG+. Dark wraps with color illus.; 63 pp.; profuse color illustration. Contains an essay, "Calm and Cacaphony," and features works by 19 artists.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New. Challenging the hegemony of museums and yearning to communicate with a larger diverse audience, trailblazing conceptual artists and land artists found support in newly developed and expanded programs of the NEA and the GSA. This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Why is there so much bad public art? How can the overall standard of public art be improved? What professional practices sponsor the best art for architecture and the environment? How can the artist selection process ensure that only superior artists are commissioned? Aesthetic judgments are implicit in museums exhibitions and acquisitions. Why should art in public places be held to a lesser standard? How can myriad interests of the community and individuals be harnessed to the higher goal of choosing the best artists for a project.It is a central contention of the book that despite the numerous constraints encountered in any commission, the most excellent public art expresses and even accentuates the personal, innovative vision of the artist. Approaches that compromise that vision, especially those that try to be all things to all people, inevitably diminish the dynamism and uniqueness of the final work. In the best public art, imagination, originality, passion, and even impulsiveness characterises the work of those artists who, while reaching out to a broader public, paradoxically search for new ideas often antithetical to the rules, materialistic culture, and social practices of the community. Many projects have demonstrated that art that seems different, difficult, and provocative can, in time, become familiar and comprehensible in a public setting and resonate more effectively than conventional solutions.

Hardback. Condition: New. New copy - Usually dispatched within 4 working days.

Hardback. Condition: New. Challenging the hegemony of museums and yearning to communicate with a larger diverse audience, trailblazing conceptual artists and land artists found support in newly developed and expanded programs of the NEA and the GSA. This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Why is there so much bad public art? How can the overall standard of public art be improved? What professional practices sponsor the best art for architecture and the environment? How can the artist selection process ensure that only superior artists are commissioned? Aesthetic judgments are implicit in museums exhibitions and acquisitions. Why should art in public places be held to a lesser standard? How can myriad interests of the community and individuals be harnessed to the higher goal of choosing the best artists for a project.It is a central contention of the book that despite the numerous constraints encountered in any commission, the most excellent public art expresses and even accentuates the personal, innovative vision of the artist. Approaches that compromise that vision, especially those that try to be all things to all people, inevitably diminish the dynamism and uniqueness of the final work. In the best public art, imagination, originality, passion, and even impulsiveness characterises the work of those artists who, while reaching out to a broader public, paradoxically search for new ideas often antithetical to the rules, materialistic culture, and social practices of the community. Many projects have demonstrated that art that seems different, difficult, and provocative can, in time, become familiar and comprehensible in a public setting and resonate more effectively than conventional solutions.

Staple-bound Wrappers. Condition: Fine Condition. Slim volume, 22 pages 17 illustrations 12 in color. Illustrated wraps. Curated by Joyce Pomeroy Schwartz and Karla Bradley. Published on the occasion of the exhibition from the Eighth Annual Art Exhibition, TrizecHahn Office Properties, Bank of America Plaza, Charlotte NC 4 February-4 November 1999.

Condition: New.

Condition: New. In.

Condition: Good. 8vo. 24 pp. Stapled wraps. Near Fine. Color plates. Features works by Janet Biggs, Fernand Leger, Heather Nicol, et al.

hardcover. Condition: New. Special order direct from the distributor.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 260 pages. 11.00x9.00x1.00 inches. In Stock.

Hardcover. Condition: Brand New. 260 pages. 11.00x9.00x1.00 inches. In Stock.

Hardcover. Condition: Brand New. 260 pages. 11.00x9.00x1.00 inches. In Stock.

Condition: New. &Uumlber den AutorJoyce Pomeroy Schwartz is a curator and public art consultant specializing in public art policy, contemporary art commissions for architecture and landscape projects, implementation of arts master plans, and integratio.

Hardback. Condition: New. Challenging the hegemony of museums and yearning to communicate with a larger diverse audience, trailblazing conceptual artists and land artists found support in newly developed and expanded programs of the NEA and the GSA. This book foregrounds critical questions about public art, the policies that govern it, and the processes that realise it. What makes art public? What makes good public art? Why is there so much bad public art? How can the overall standard of public art be improved? What professional practices sponsor the best art for architecture and the environment? How can the artist selection process ensure that only superior artists are commissioned? Aesthetic judgments are implicit in museums exhibitions and acquisitions. Why should art in public places be held to a lesser standard? How can myriad interests of the community and individuals be harnessed to the higher goal of choosing the best artists for a project.It is a central contention of the book that despite the numerous constraints encountered in any commission, the most excellent public art expresses and even accentuates the personal, innovative vision of the artist. Approaches that compromise that vision, especially those that try to be all things to all people, inevitably diminish the dynamism and uniqueness of the final work. In the best public art, imagination, originality, passion, and even impulsiveness characterises the work of those artists who, while reaching out to a broader public, paradoxically search for new ideas often antithetical to the rules, materialistic culture, and social practices of the community. Many projects have demonstrated that art that seems different, difficult, and provocative can, in time, become familiar and comprehensible in a public setting and resonate more effectively than conventional solutions.