Good. 1988-Paperback-Used-Good--Shows some shelf-wear. May contain old price stickers or their residue, inscriptions or dedications from previous owners in first few pages and remainder marks.-. -Hall Street Books proudly ships from Brooklyn, NY. All orders are processed and shipped within 24 business hours, Mon-Fri. Expedited shipping and tracking available within the US. Hall Street's No-Worry guarantee lets you buy with confidence!
Good in Good jacket. 4to. A prior owner's name is written in black marker on the bottom page block edge, and there is an upper-corner clip on the half-title, otherwise pages are crisp and clean; binding is secure, though there is a thin reading crease in the spine; the dustjacket shows some delicate wear at the spine ends and free corners, with a short, closed tear at the spine head, otherwise excellent. The dustjacket is now protected in a clear sleeve.
Near Fine. No Dust Jacket. 234 pp, 11" x 8 1/2", profusely illustrated in color and bw, copy is in excellent condition with the only flaw being a little price sticker residue on cover. This was the exhibition catalogue for a show of drawings, sculptures, and large-scale projects executed and proposed by Claes Oldenburg with Coosje van Bruggen.
Publishers Weekly, 1988-05-20 For decades, pop artist Oldenburg has been transforming the ordinary into the fantastic with his imaginative sculptures of everyday objects. The 12-meter Giant Trowel in 1976 marked the start of a collaboration with his wife van Bruggen on their ``large-scale projects,'' which are the concern of this colorful, witty and illuminating book produced in conjunction with a British exhibition of Oldenburg's sculpture, notebooks and sketches. This survey investigates the artists' methods, achievements and creative processes. Among other conceptions is the absurd solution to a shortage of burial spaceOldenburg's depiction for Cemetery in the Shape of a Colossal Screw: Skyscraper for Sao Paolo, Brazil, which as it fills with coffins, screws into the ground until only the screw-head projects as a marker. Explanatory essays give the works their artistic, historical and, as in Blasted Pencil (Which Still Writes), a monument to the survival of the University of El Salvador, their political contexts. Recurring images like broken matches and bent screws are traced from developmental stages to installation in finished sculptures. (June)
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