Edited and with introduction by Brigitte Franzen, Anna Sophia Schultz. Foreword by Isabel Pfeiffer-Poensgen, Hortensia Völckers. Text by Kathrin Barutzki, Wolfgang Becker, Hans-Christian Dany, Thomas Hecken, Manfred Henningsen, John Brinckerhoff Jackson, Jean-Claude Lebensztejn, Lucy Lippard, Alexandra Puntigam, Uwe M. Schneede, Martino Stierli, Annette Urban.
Flexi, 7.75 x 9.5 in. / 384 pgs / 150 color. | 8/31/2012 | In stock ISBN 9783863351199 | $40.00
Edited by Brandon LaBelle, Ken Ehrlich and Stephen Vitiello. Essays by Kathy Battista, Jennifer Gabrys, Lucy Lippard, Laurie Palmer, Lucy Soutter, Sara Roberts, Jane Rendell, Simon Leung, Michael Weinstock, Juli Carson, Alphonso Lingis and Giles Lane.
Paperback, 8 x 10.5 in. / 300 pgs / illustrated throughout. | 8/2/2003 | Not available ISBN 9780965557047 | $25.00
Published by Marquand Books. Text by Lucy Lippard. Foreword Linda Connor.
Megalithic monuments can be found across many countries, and their configuration varies widely. Moon Viewing: Megaliths by Moonlight surveys the geographical distribution of these stones, from Sweden in the north to West Africa in the south and Armenia in the east. The book is based on Barbara Yoshida’s ten years of travel and research and uses night photography to emphasize the relationship of megalithic stones to stars and planets. Research has shown that some of the stones were purposely aligned with the appearance of stars or planets at certain times of the year. In Yoshida’s night photographs, stars and planets are evidenced as "star trails"--white streaks in the sky that show how much the earth moved during shooting. Augmenting the photographs are an essay by renowned art critic Lucy Lippard and a foreword by acclaimed photographer Linda Connor.
Published by JRP|Ringier. Edited by Béatrice Gross. Text by Susanna Singer, John Hogan, Béatrice Gross, Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham, Robert Smithson.
Magnificent in scope, design and scholarship, this essential volume is the first comprehensive LeWitt monograph published since the artist's death, and the first overview since 2000. Besides gathering visual documentation of LeWitt's wall drawings and his sculptures-or "structures" as he preferred-the publication also includes his complete writings; spreads from his artist's books; plus interviews and essays by virtually every artist and author closely associated with LeWitt, among them Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham and Robert Smithson. One of the most important artists of the twentieth century, LeWitt at last receives the definitive treatment of his work in this volume. In his 1967 "Paragraphs on Conceptual Art," Sol LeWitt set out the fundamental principle of his artistic practice: "In conceptual art the idea or concept is the most important aspect of the work.... The idea becomes a machine that makes the art." From the first wall drawing in 1968 until his death in 2007, LeWitt never ceased to develop new "machines," conceiving some 1,200 wall drawings and laying down the foundations of Conceptual and Minimalist art. LeWitt's wall drawings, always installed by assistants, eliminated any intermediary object (such as a canvas) between the work and its support, thereby dovetailing a sensuous material immediacy with a powerful Platonic detachment. His sculptural variations on grids, cubes and pyramids likewise project this moving simplicity and clarity. Sol LeWitt (1928-2007) was born in Hartford, Connecticut, where he took art classes at the Wadsworth Atheneum. After receiving a BFA from Syracuse University he worked as a graphic designer in the office of architect I.M. Pei. In 1976, LeWitt cofounded the artists' book bookstore Printed Matter in New York, with Lucy Lippard. A retrospective of his wall drawings opened to the public in 2008 at MASS MoCA in North Adams, Massachusetts, where it will remain on view for 25 years.
Published by New Documents. Edited by Lucy Lippard.
Between 1969 and 1974, the influential curator Lucy Lippard (born 1937) curated four decisive Conceptual art exhibitions, and in doing so reinvented the exhibition catalogue. 4,492,040 is a facsimile reprint of the extremely scarce and hugely important catalogues produced for those exhibitions: 557,087 (the Seattle Art Museum), 955,000 (the Vancouver Art Gallery), 7,500 (the California Institute of Art) and 2,972,453 (the Centro de Arte y Comunicación). Titled after the populations of the cities in which the shows were held, each catalogue was an envelope of loose note cards containing statements, documentation and conceptual works by each artist, to be rearranged, filed or discarded at will. If Lippard described Conceptual art as the dematerialization of the art object, these catalogues effectively announced the dematerialization of the art exhibition. (One reviewer claimed Lippard had been the artist, and that her medium had been other artists.) 4,492,040 includes such iconic figures as Vito Acconci, Carl Andre, Siah Armajani, Terry Atkinson, John Baldessari, Michael Baldwin, Robert Barry, Rick Barthelme, Daniel Buren, Rosemarie Castoro, Hanne Darboven, Walter de Maria, Jan Dibbets, Christos Dikeakos, Eleanor Antin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, On Kawara, Edward Kienholz Sol LeWitt, Roelof Louw, Duane Lundon, Bruce McLean, Robert Morris, N.E. Thing Co., Bruce Nauman, Adrian Piper, Allen Ruppersberg, Ed Ruscha, Richard Serra, Robert Smithson, Jeff Wall and Lawrence Weiner.
BOOK FORMAT Boxed, 6 x 4 in. / 460 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 4/30/2013 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 87
PRODUCT DETAILS ISBN 9781927354001SDNR30 List Price: $35.00 CDN $40.00
Published by Walther König, Köln. Edited and with introduction by Brigitte Franzen, Anna Sophia Schultz. Foreword by Isabel Pfeiffer-Poensgen, Hortensia Völckers. Text by Kathrin Barutzki, Wolfgang Becker, Hans-Christian Dany, Thomas Hecken, Manfred Henningsen, John Brinckerhoff Jackson, Jean-Claude Lebensztejn, Lucy Lippard, Alexandra Puntigam, Uwe M. Schneede, Martino Stierli, Annette Urban.
Closer than Fiction serves as the reading companion to the 2011 Hyper Real exhibition of photorealist art held at the Ludwig Forum für Internationale Kunst in Germany. Scholarly essays place American hyperrealism and photorealism in a comprehensive art historical context. Installation photos of the exhibition illustrate the text.
Published by Afterall Books. Text by Cornelia Butler with Peter Plagens, Griselda Pollock, Pip Day. Interviews with Lucy Lippard, Seth Siegelaub, et al.
Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her “numbers shows.” Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to London. From Conceptualism to Feminism follows Lippard’s curatorial trajectory, analyzing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism. Extensive photographic material is complemented by a major new essay by Cornelia Butler and interviews with Lucy Lippard, Seth Siegelaub and with artists in c. 7,500. The volume also includes an analysis of artists’ initiatives in Argentina, which give a context for Lippard’s emerging political consciousness. From Conceptualism to Feminism is the third publication in Afterall’s Exhibition Histories series, which investigates exhibitions that have shaped the way contemporary art is experienced, made and discussed.
Published by Charta. Text by Lucy Lippard, Michelle Stuart.
Whether an earth-rubbed book object infused with soil from Canyon de Chelly or a multimedia work depicting crossroads of trade in the Yucatan, Michelle Stuart's art conveys a sense of cultural history and distant places. This intimate, visually stunning volume focuses on the artist's small sculptures and sculptural installations. Opening with an introduction by critic Lucy Lippard, whose decades-long friendship with Stuart gives her unique insight into her practice, the book features journal entries interspersed among its 160 illustrations, conveying an eloquent sense of time and process. Since the early 1970s, Stuart has pioneered highly regarded approaches involving the unusual use of materials such as earth-rubbed paper and the use of seeds as medium and subject matter. She has won international acclaim for her inquiries into nature, blending an interest in archaeology, biology, cosmology and history. Sculptural Objects provides a glimpse not only of what inspires Stuart's artmaking but also of the journey a creative mind takes in solving the mysteries of being.
BOOK FORMAT Paperback, 8.5 x 11.25 in. / 184 pgs / 117 color / 35 bw.
PUBLISHING STATUS Pub Date 5/31/2011 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 86
PRODUCT DETAILS ISBN 9788881588039TRADE List Price: $45.00 CDN $55.00
Published by Radius Books. Introduction by Bill Gilbert. Text by Lucy Lippard, William L. Fox, Nancy Marie Mithlo, Malin Wilson.
Land Art emerged in the 1970s when a handful of New York's more adventurous artists departed the gallery scene to make work in the open landscapes of the American West--Robert Smithson, James Turrell and Walter De Maria among them. Today, the genre has been renamed "environmental art," and encompasses the global community, the microscopic world, cyber space, suburban sprawl and the urban environment. Land/Art documents a series of events presented by 18 New Mexico arts organizations which explore the relationship between land, art and community through exhibitions, site-specific works and lectures. Featuring works by more than 40 artists, including the Center for Land Use Interpretation, Laurie Anderson, Erika Blumenfeld, Basia Irland, Patrick Dougherty, Catalina Delgado Trunk and Shelley Niro, this volume includes an introduction by critic Lucy Lippard, one of Land Art's best-known exponents.
Published by Hatje Cantz. Text by Iris Müller-Westermann, Jo Applin, Lucy R. Lippard, Benjamin Meyer-Krahmer.
The career of American artist Lee Lozano (1930-1999) was brief but extraordinarily intense. Throughout the 1960s, during the transition from Pop art to Minimalism and Conceptualism, and up until her self-imposed exile in the 1970s, Lozano created a genuinely radical and frequently obscene body of work that traversed a gamut of idioms. Her early paintings were executed in a messy cartoon style, oozing with violence and sexuality. By 1967, Lozano was responding to Minimalism and Op art with her abstract Wave paintings. It was also around this time that she initiated a series of actions that tested both the limits of art and acceptable conduct in society, such as smoking pot, masturbating and, mostly notoriously of all, boycotting women. This publication accompanies a retrospective of Lozano's works at Moderna Museet in Stockholm--works which after 40 years remain as witty, acerbic and shockingly fresh as ever.
Published by JRP|Ringier. Edited by Hans Ulrich Obrist.
Part of JRP|Ringer's innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a 'spiritual guest worker'... If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice--itself defined by selection and arrangement--would come to be seen as an art that operates on the field of art itself?"
Published by Aperture. Essays by Maurice Berger and Lucy Lippard.
Andrea Robbins and Max Becher draw on a rich visual vocabulary gleaned as much from travel brochures, postcards and National Geographic as from the photography of Walker Evans, Edward Curtis and Stephen Shore. Their work, a somewhat surreal nonfiction, uses documentary images to examine contradictions of place and cultural identity: that is, when Germans tie on Native American headdresses and Midwesterners parade in Bavarian costumes, Robbins and Becher are there. In their own words, "The primary focus of our work is what we call the transportation of place--situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences." Their work posits vital questions for a globalized world and for photography.
BOOK FORMAT Hardcover, 11.75 x 10 in. / 156 pgs / 130 color.
PUBLISHING STATUS Pub Date 5/1/2006 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597110105TRADE List Price: $50.00 CDN $60.00
Published by MIT List Visual Arts Center. Edited by Catherine Morris. Essays by Clarisse Bardiot and Michelle Kuo. Texts by Lucy Lippard and Brian O'Doherty. Introduction by Jane Farver.
In 1966, a Bell Laboratories physicist brought a group of avant-garde artists together with 10 open-minded members of the science and technology fields for 9 Evenings: Theatre and Engineering, a series of investigatory Happenings which took place at the 69th Regiment Armory and were duly noted by critics Lucy Lippard and Brian O'Doherty. The resulting seminal performances included John Cage's Variations VII, in which 30 photocells were mounted around the performance space, activating a variety of sound sources--including a blender, 20 radio channels and two Geiger counters--as the performers moved around. Other contributors included Lucinda Childs, Alex Hay, Deborah Hay, Oyvind Fahlstrom, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman. The events were photographed by Peter Moore, whose pictures, many never before been published, are featured here. Also included are Lippard and O'Doherty's original reviews; new scholarship by Clarisse Bardiot, Michelle Kuo and Catherine Morris; and an interview with one of the engineers.
Published by D.A.P./Museum of Contemporary Art, Chicago. Essays by Francesco Bonami, Carol Becker, Alain de Boton, Lucy Lippard, Susan Sontag and Nancy Spector. Foreword by Robert Fitzpatrick.
Drawing from such disciplines as anthropology, sociology, economics, art criticism and travel writing, Universal Experience is both a sizeable illustrated catalogue of the exhibition at the MCA, Chicago and a companion to the experience of contemporary travel and tourism. This volume draws on the proliferation of research surrounding the social, geographic and cultural dimensions of mobility and outputs this information as an anthology of articles, essays and excerpts. The primary focus of the exhibition, however, is on artworks created by a group of international visual artists who create work in response to travel among multiple cultures--both high and low, and local and foreign. While serving as a “travel guide” to the latest sociological and political research and commentary on tourism and travel, Universal Experience also features a compelling mix of text and more than 170 images in an engaging format that will appeal to high scholars and popular audiences alike. Artists range from well knowns like Rem Koolhaas, Andy Warhol, Vito Acconci, Jeff Koons, and Ilya and Emilia Kabakov, to emerging artists such as Franz Ackermann, Mathias Muller, Shirana Shahbazi, Yukata Sone, Pascale Marthine Tayou and Piötr Uklanski. Complimenting and illuminating the works of these artists is a collection of written works by Francesco Bonami, Carol Becker, Alain de Botton, Nancy Spector, Susan Sontag, Lucy Lippard, Robert Fitzpatrick and others.
Published by Turner. Edited by Cuauhtémoc Medina. Essays by Lynne Cooke, Susan Buck-Morss, Gustavo Buntinx, Lucy Lippard, Gerardo Mosquera and Corinne Diserens.
As essayist Cuauhtémoc Medina puts it, “A desperate situation requires an absurd solution.” On April 11, 2002, 500 volunteers (mostly students from the University of Lima) were supplied with shovels and asked to form a single line at the foot of a giant sand dune in Ventanilla, an area outside of Lima. This human comb moved the 1600-foot-long sand dune about four inches from its original position. When Faith Can Move Mountains attempts to translate social tensions into narratives that in turn intervene in the imaginary landscape of a place. Instead of following the classic model of an artist or exhibition catalogue, this book focuses on the conjunction between the social and historical conditions that the work appropriated, and the metaphoric analysis that the intervention put in motion. Through images (such as photos of the event and drawings for the project) and text (including letters and documents of the intervention) this publication, reminiscent of a science book, narrates the facts and concepts of the work.
Published by Aperture. Essays by Keith Critchlow, Lucy Lippard and Maria Reiche. Introduction by Charles Gallenkamp. Preface by Haven O'More.
Marilyn Bridges has been photographing ancient religious sites for many years. Her dramatic aerial photographs capture the mysterious Nazca lines painstakingly scored 2,000 years ago onto a Peruvian desert landscape, the sacred temples and pyramids of the Maya, deep in the Yucatan jungle, the enigmatic earthworks of ancient North American Indians and the colossal prehistoric temple of Stonehenge.
BOOK FORMAT Paperback, 11 x 10 in. / 104 pgs / 86 reproductions throughout.
PUBLISHING STATUS Pub Date 6/15/2005 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9780893814236TRADE List Price: $24.95 CDN $27.50
Published by Hatje Cantz. Artwork by Christine Hill. Edited by Barbara Steiner. Text by Doris Berger, Lucy Lippard.
Exceptionally organized with a sincere nod toward dated encyclopedias and the anachronistic world of old-fashioned stationer's, Inventory holds true to the letter of the dictionary--which definition shall not be supplied here. Please look it up. Cataloging the orderly work that Christine Hill has produced over the past 10 years--including Pilot, Productions, Vending Machine, Tourguide, Reference Library, and Handbag, collectively referred to as Organizational Ventures--Inventory archives work created in each of the Volksboutique's international offices, located in Binghamton, Baltimore, Berlin, and Brooklyn, and a number of vital texts and reference images.
Los Alamos to Vietnam: Photoworks and Installations
Published by St. Ann's Press. Essays by Lucy Lippard, Rebecca Solnit, and James Crump. Introduction by Terry Tempest Williams.
Meridel Rubenstein mixes mediums and metaphors to make art about our tenuous connection to place. Originally trained as a photographer, she combines disparate materials such as earthy palladium prints with cold steel mounts, transparent photographic imagery sandblasted onto glass, video imagery projected onto cast glass, and digital still imagery on floating vellum and hand-coated tree bark papers. A sense of fragility, transparency, and passage in her works underscores a possibility for change. Her complex narrative photoworks and installations derive from a sense of place, personal and collective history, and myth--the landscape of the cultural mind. Nine intersecting bodies of work compose this book. The Lowriders is a series of color photographs of the customized cars owned by Latinos from northern New Mexico. Critical Mass is a collaborative work about the making of the first bomb at Los Alamos. The intersecting of the world of the Native American and the Nuclear Scientist is told through the story of one woman who they met. Oppenheimer's Chair is a meditation on nature and the shedding of defensive postures after 50 years of the cold war. Also included is a series that stems from Rubenstein's 1997 trip to Vietnam, where she commenced a body of work tracing the trajectories of uprooting and replanting in relation to the Vietnam War.
PUBLISHER St. Ann's Press
BOOK FORMAT Clothbound, 10.75 x 11.25 in. / 192 pgs / 140 color.
PUBLISHING STATUS Pub Date 11/2/2004 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9780975330203TRADE List Price: $65.00 CDN $75.00
Published by Hatje Cantz. Edited by Yilmaz Dziewior and Nina Müntmann. Essays by Lucy Lippard, Tom McDonough, Astrid Wege, Denis Cosgrove, and Dirck Müllmann.
The city of Hamburg provided the Galerie fr Landschaftskunst and the Kunstverein in Hamburg with an ideal example of an urban metropolis for a joint project entitled Mapping a City: Hamburg Cartography. In a series of works devoted to the exploration of urban space, international artists investigated ideas about nature and landscape.
Published by Errant Bodies Press. Edited by Brandon LaBelle, Ken Ehrlich and Stephen Vitiello. Essays by Kathy Battista, Jennifer Gabrys, Lucy Lippard, Laurie Palmer, Lucy Soutter, Sara Roberts, Jane Rendell, Simon Leung, Michael Weinstock, Juli Carson, Alphonso Lingis and Giles Lane.
From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including Coughing Piece, a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of Surface Tension, between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces.
Published by Societe des Expositions du Palais des Beaux-Arts de Bruxelles. Artwork by Anni Albers, Josef Albers, Libero Badii, Helmut Federle, Gonzalo Fonseca, Adolph Gottlieb, Francisco Matto, Louise Nevelson, Alejandro Puente, Eduardo Ramirez Villamizar, Lenore Tawney, Joaquin Torres-Garcia, Paul Klee, Barnett Newman, Tony SmText by Cecilia de Torres, Valentin Ferdinan, Mary Frame, Cesar Paternosto, Piet Coessens, Lucy Lippard.
Less familiar strands of the history of modern art are often obscured by the canonical history of Western abstraction. In rethreading them, Abstraction: The Amerindian Paradigm ascertains the unfolding of an abstract art that was born of a cross-fertilization with the indigenous arts of the Americas. The abstract forms that have emerged from practices such as weaving and ceramics, which the West has long deemed "lowly crafts," are reread, challenging the dominant assumption that abstract art is a prerogative of the modern West. The uncompromising geometry and bold colors of ancient Andean weavings--insistently characterized in ethnographic and art historical discourses as decorative--are heralded here as the textile paradigm of abstraction, a grid that precedes by millennia the Western modernist grid. Between the 1920s and 40s, Paul Klee, Joaquin Torres-Garcia, Josef and Anni Albers, Barnett Newman, and Adolph Gottlieb led the way in gazing at the ancient American arts. Later, Louise Nevelson, Alfred Jensen, Mathias Goeritz, Tony Smith, Helmut Federle, and South American artists Libero Badii, Francisco Matto, Gonzalo Fonseca, Eduardo Ramirez Villamizar, Alejandro Puente, and Cesar Paternosto, as well as textile artist Lenore Tawney and poet/artist Cecilia Vicuna, had significant encounters with the Amerindian arts.
In their accompanying essays, Cesar Paternosto focuses on the emergence of an abstraction rooted on the indigenous arts of the Americas; Lucy R. Lippard writes on her experiences while researching the rock art of New Mexico; Mary Frame discusses the cultural resonance of textile structural forms in the ancient Andes; Cecilia de Torres narrates the story of the pioneering trecks to pre-Columbian sites by Torres-Garcia's disciples; and Valentin Ferdinan discusses the formative aspects of modern culture in Latin America.
PUBLISHER Societe des Expositions du Palais des Beaux-Arts de Bruxelles
BOOK FORMAT Hardcover, 8 x 11 in. / 172 pgs / 140 color / 106 bw.
PUBLISHING STATUS Pub Date 2/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9789074816274TRADE List Price: $35.00 CDN $40.00
Women Photographers of the 20th Century Selections from the Helen Kornblum Collection
Published by The Saint Louis Art Museum. Contributions by Olivia Lahs-Gonzales, Martha Sandweiss. Text by Lucy Lippard.
From well-known luminaries of the medium such as Arbus, Goldin, Lange, Cunningham, Cindy Sherman and Annie Leibovitz, to far less known figures, this book celebrates the role women have had in shaping photography's vision.
PUBLISHER The Saint Louis Art Museum
BOOK FORMAT Paperback, 9 x 12 in. / 158 pgs / 23 color / 20 bw / 63 duotone.
PUBLISHING STATUS Pub Date 11/2/1998 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 1998
PRODUCT DETAILS ISBN 9780891780472TRADE List Price: $35.00 CDN $40.00