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Diego Rivera: The Detroit Industry Murals
Linda Bank Downs; Diego Rivera
New York: W. W. Norton & Company, 1999.“Early in the Depression, Diego Rivera was commissioned by Edsel Ford to create a series of murals in the gallery of the Detroit Institute of Arts, giant frescos whose theme would be America’s industrial might. This volume studies the astonishing results and gives us a remarkably close look at Diego and his wife, Frida Kahlo. Rivera’s Detroit Industry murals are one of this country’s greatest treasures. In addition to providing full coverage and analysis of the murals, this volume includes chapters on the murals’ planning and antecedents, Rivera’s working methods (which can be read as a primer on frescos), Diego and Frida’s lives for their nine months in Detroit, and the public’s dramatic response to the strong socialist/communist themes in the works.” (publisher’s blurb)
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Hiroki Oda
Hiroki Oda
[Tokyo]: Mitsukoshi, 1998.Catalog for an exhibition of Japanese painter Hiroki Oda (1914-2012) held at Nihonbashi Mitsukoshi, Tokyo, and three other locations in 1998 and 1999.
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Kostabi World
Mark Kostabi; Seiichi Tanaka
Osaka and New York: Planet Corporation and Kostabi World, 1991.Mark Kostabi presented by Seiichi Tanaka. Produced in the early heights of Kostabi World, Kostabi’s multi-level art studio/factory in New York. Drawings, paintings, photographs, art banter for the cash.
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Aquarium
Itsuko Azuma
Tokyo: Sanrio, 1989.Monograph of paintings by Itsuko Azuma.
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Computer Graphic Paintings of Sri Ramayana
S. R. Kolluri
Vidyanagar: Maremanda Seetharamaiah, 2008.108 Photoshop paintings with accompanying text of the story of Sri Ramayana. Rare, not recorded in OCLC.
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Vertigo: Op Art and a History of Deception, 1520 to 1970
Eva Badura-Triska; Markus Worgotter
Koln: Walther Konig, 2020.“Op art works are by no means only directed at our sense of sight. With their powerful effects and optical illusions they lead to experiences of powerful sensory overkill. A dizzying overview of sensory illusions in art, from Piranesi to Riley, this eclectic volume presents a deceptive game of the senses, covering a wide spectrum ranging from panel paintings, reliefs and objects to installations and experiential spaces, to film and computer-generated art.” (publisher’s blurb)
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Blue
Tsukasa Osamu
[Tokyo]: Tom’s Box, 1991.A short story by Japanese novelist Osamu Tsukasa (1936-) illustrated throughout with collage art and litographs.
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Gilas Bilong Lukim Papa Graun (Mirror to the World)
Simon Gende
Brisbane: Andrew Baker Art Dealer, 2018. -
Siamani Samoa
Michel Tuffery
Brisbane: Andrew Baker Art Dealer, 2012.Exhibition catalogue.
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Awis Artis Blong Vanuatu
Awis Artis
Vanuatu: Awis Artis, 2015.Catalogue for an exhibition held at Andrew Baker of an artist group from Vanuatu.
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Nomen / Noh Masks
Yasuo Nakamura; Naomi Maki
Kyoto: Shinshindo, 1979.A beautifully presented collection of masks used in the classical Japanese dance-drama Noh. Each plate, photographed by Naomi Maki, is mounted in an individual folder with tissue guard, housed in a portfolio case, and includes an index sheet. An accompanying explanatory volume written by Yasuo Nakamura goes into detail on the subject, as well as containing black and white photographs of the reverse sides of the masks. The portfolio and accompanying volume are housed inside of another cloth clamshell with two bone clasps, which in turn is housed in another box. Yasuo Nakamura (1919-1996) was a Japanese high school teacher, junior college professor, and Noh scholar, producing numerous works on the subject from the 1960s until his death. His scholarship on this collection of masks earned him the Geijutsu Sensho Prize from The Agency for Cultural Affairs.
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Picturing a Nation: The Art & Life of A. H. Fullwood
Gary Werskey; A. H. Fullwood
Sydney: NewSouth Publishing, 2021.“The untold story of a major Australian artist. Regarded in his day as an important Australian impressionist painter, A.H. Fullwood (1863-1930) was also the most widely viewed British-Australian artist of the Heidelberg era. Fullwood’s illustrations for the popular Picturesque Atlas of Australasia and the Bulletin, as well as leading Australian and English newspapers, helped shape how settler-colonial Australia was seen both here and around the world. Meanwhile his paintings were as celebrated as those of his good friends Tom Roberts and Arthur Streeton. So why is Fullwood so little known today? In this pioneering, richly illustrated biography, Gary Werskey brings Fullwood and his extraordinary career as an illustrator, painter, and war artist back to life, while casting a new light on the most fabled era in the history of Australian art.” (publisher’s blurb)
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Dream Helmet Number 1
Bill Wolak; Steven Frim; John Digby; Ira Cohen; Sue Matiko
Fort Lee: The Somniloquist’s Press, 1978.Surreal art/poetry journal, originally intended as bi-annual, this is the only number known to be published. Text contributions by Paul Eluard, Charles Henri Ford, Paul Grillo, George-There Dickenson, Jerry Estrin, Ahmad Shamlu, Siavosh Kasra’i, Forugh Farrokhzad, Kiumars Monshizadeh, Cecil Helman, Debbie Narin, John Digby, Marc Lecard, Valery Oisteanu, Ira Cohen, Opal Nations, B. C. Leale, Jimmy Penzi, Petra Vogt, Jimmy Gladiator, Salome, Jehan Van Langhenhaven, Patrice Uhl, Tristan Mandragore, Marilyn Kallet, Jeremy Reed, Ann Gleeson, Nanos Valaoritis, Gellu Naum, Will Bennett, Lorenzo de Kleinhans, Gwynn O’Gara, Bill Wolak, Salah Faik, Roderick L. Iverson, Janie Pommy-Vega, Pavel Reznicek, Ted Joans, and Joyce Mansour. College illustrations by John Digby, Philip Kuznicki, Steven Frim, John Evans, Valery Oisteanu, Ira Cohen, Bill Wolf, Ching Ho Cheng, Haifa Zangana, and Stefan Jamiolkowski.
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Behold!!! The Protong
Stanislav Szukalski; Glenn Bray; Lena Zwalve
San Francisco: Last Gasp, 2019.“Extracts from the 39 volumes of my science “Zermatism,” based on new interpretations of petroglyphic communications, in which will be revealed the most precedent-shattering and up-turning of all notions on our origins. Including samplings from Anthropolitical Motivations, The Deluged Gods, and Listen to These Stones.” (publisher’s blurb) Introduction by Robert Williams, obituary by Ray Zone. Edited by Glenn Bray and Lena Zwalve.
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Past In Reverse: Contemporary Art of East Asia
Betti-Sue Hertz
San Diego: San Diego Museum of Art, 2004. -
OBJECTS from Tender Buttons
Sandra Gibbons
[Portland]: FLASH+Card & c_L Production, 2011.A box set of 12 cards with envelopes by American illustrator Sandra Gibbons. The set comes from a series of “fifty-nine comics-adaption drawings that illustrate or respond to the OBJECTS section of Tender Buttons by Gertrude Stein. The original drawings are collected in the American Literature Collection at the Beinecke Rare Book and Manuscript Library at Yale University.” (artist’s blurb)
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Jean-Michel Basquiat XXL
Jean-Michel Basquiat; Hans Werner Holzwarth
Koln: Taschen, 2018.“Get up close to the bold brushwork and scribbled words of Jean-Michel Basquiat, whose vivid paintings remain as fresh and urgent today as in 1980s New York. This XXL-sized monograph gathers BasquiatÂ’s major works in pristine reproduction alongside texts by his contemporary Carlo McCormick as well as by curator and art historian Eleanor Nairne. They introduce us to an artist whose legend is as strong as ever.” (publisher’s blurb)
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Illustrations of the Japanese Species of Bamboo
Isuke Tsuboi
Gifu and Tokyo: Kawada Teijiro and Hatsubaijo Maruzen Kabushiki Kaisha, 1916.The Tsuboi Bamboo Atlas comprises 109 loose colour lithographs of Japanese bamboo varieties with an English title page and index together with an 80 page book in Japanese. Presents examples of root systems, stems, with and without flowers and leaves, cross-sections, abnormalities, and fungus, at various scales, with Japanese and Latin titles, and English captions.
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The Djuna Set
June Wayne
Fresno: Fresno Art Museum, 1988. -
long water: fibre stories
Freja Carmichael
Brisbane: Institute of Modern Art, 2020.“long water: fibre stories illuminates spiritual, ancestral, and physical connections to water through fibre practices of artists from Yuwaalaraay (North West NSW), Quandamooka (Moreton Bay, South East QLD), Kuku Yalanji (Far North QLD), Zenadh Kes (Torres Strait Islands, QLD), Yurruwi (Milingimbi Island, NT), and surrounding homelands. Together this group–Aboriginal and Torres Strait Islander women, spanning different generations and ancestries–share an inseparable relationship to water, be it the vast sea, inland waterways, or expansive river systems. Collectively, long water celebrates the stories of regeneration and continuation of important cultural traditions, and the strong women and vital water places that sustain them. The country, and wide range of environments, practices, and knowledge represented speak to both deep time and contemporary experiences–bringing into focus the importance of water to our cultural health and our capacity for resilience.” (publisher’s blurb)