2015, ISBN: 9781904864523

Taschenbuch, Gebundene Ausgabe

New York, NY: Harry N. Abrams, Inc, 1992. Presumed First Edition, First printing. Hardcover. Very good/Very good. 224 pages. Oversized book, measuring 11-3/4 inches by 9-1/4 inches. I… Mehr…

New York, NY: Harry N. Abrams, Inc, 1992. Presumed First Edition, First printing. Hardcover. Very good/Very good. 224 pages. Oversized book, measuring 11-3/4 inches by 9-1/4 inches. Illustrated endpapers. Color Frontis. Profusely illustrated in black and white and in color. DJ has slight wear and soiling. Contains information and many black and white and color illustrations from the following musicals: Oklahoma, State Fair, Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Cinderella, Flower Drum Song, and The Sound of Music. Includes Bibliography, Index, and Credits. Ethan Mordden (born 1947) is a prolific American author and musical theater researcher. Mordden is a graduate of the University of Pennsylvania. He at first sought a career in show business, working as music director on off-Broadway and in regional theatre, and enrolling in the BMI Lehman Engel Musical Theater Workshop run by Lehman Engel. As both composer and lyricist, Mordden wrote musicals based on William Shakespeare's Measure For Measure and on Max Beerbohm's Zuleika Dobson, but he ended up earning his living as a writer of English prose. In the 1970s. His stories, novels, essays, and non-fiction books cover a wide range of topics including the American musical theater, opera, film, and, especially in his fiction, the emergence and development of contemporary American culture as manifested in New York City. He has also written for The New Yorker, including Critic At Large pieces on Cole Porter, Judy Garland, and the musical Show Boat, and reviews of a biography of the Barrymores and Art Spiegelman's novel Maus. He became a book reviewer for The Wall Street Journal. Rodgers and Hammerstein refers to the duo of composer Richard Rodgers (1902-1979) and lyricist-dramatist Oscar Hammerstein II (1895-1960), who together were an influential, innovative and successful American musical theatre writing team. They created a string of popular Broadway musicals in the 1940s and 1950s, initiating what is considered the "golden age" of musical theatre. Five of their Broadway shows, Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music, were outstanding successes, as was the television broadcast of Cinderella (1957). Of the other four shows that the team produced on Broadway during their lifetimes, Flower Drum Song was well-received, and none was an outright flop. Most of their shows have received frequent revivals around the world, both professional and amateur. Among the many accolades their shows (and film versions) garnered were thirty-four Tony Awards, fifteen Academy Awards, two Pulitzer Prizes, and two Grammy Awards. Their musical theatre writing partnership has been called the greatest of the 20th century. Musical theater lovers will rejoice upon discovering Rodgers & Hammerstein, the visually rich, musical-by-musical overview of one of Broadway's most creative duos. Ethan Mordden traces the output of Richard Rodgers and Oscar Hammerstein II from their first musical project together (Oklahoma) to their very last (The Sound of Music). More than two hundred illustrations, as well as musical and lyrical selections, celebrate the successful collaboration of Richard Rodgers and Oscar Hammerstein II and their contributions to the development of American musical theater. Mordden's style is witty, informative and very accessible. Ethan Mordden analyzes every one of the shows-detailing the plots, exploring the musical and lyrical ideas, and examining casting and directing choices. Rodgers & Hammerstein is an essential work in the history of American musical theater., Harry N. Abrams, Inc, 1992, 3, United Kingdom: Bbc Pubns, 1995. EastEnders", the hugely popular soap that regularly draws in 17,000,000 viewers and now runs thrice-weekly, is a community drama where people argue, gossip, laugh, fight and feud, have romances, secrets, parties and weddings and babies, but never lose sight of the fact that they are a community and that they'll always stick by one another. The stories are numerous and include tales of murder, runaway lovers, teenage pregnancies, gambling debts and kidnapped children, as well as special Christmas, and other seasonal stories. "EastEnders: The First Ten Years" is the official celebrationary book of the series with photos and interviews with the actors, and speculations on future tensions and dramas. It contains a collection of background information, character and plot development and trivia, packed into a fully illustrated excursion of Albert Square. Do you know: Who was Reg Cox and who killed him? Who fathered Cindy's boy, Stephen? Why did Arthur Fowler go to prison in 1987? What was the real reason Den Watts went to prison? Discover the answers to these and other questions in this behind-the-scenes re-telling of the programme's history and also how Julia Smith and Tony Holland created the programme. The book offers a year-by-year guide of the main story events, with a closer look at the "special" episodes, and includes a detailed feature which traces the making of one week's episodes, from the first story conference and script-commissioning meeting, right up to transmission. To round off the book, a fun piece has been included - a short story set in the year 2015 (the 25th anniversary) with computerized, grown-up versions of Vicki Fowler, Martin Fowler and Stephen Beale. A detailed appendix lists episodes, transmission dates, writers and directors. . 3rd. Hard Cover. Fine/Near Fine. Illus. by Color Photos., Bbc Pubns, 1995, 4.5, CBS Television Network, Madison Ave, NY, 1963, 1963 No Jacket. First Edition.Original Hand Typed Photo division Press Information Release, Minor Rub, wear & stain on back on one, & other has rub, wear Small Tear to Top but O/W VERY NICE Condition, UNBOUND, 2 Small pieces Paper, Hand typed press releases on CBS Television Network Letterhead 6 1/4 X 5 3/4 in. Approx, VG/VG-, AS-IS, Small Ink Mark to one,. First Edition. Unbound., CBS Television Network, Madison Ave, NY, 1963, 1963, 0, New York: Mercury Press, 1963. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1963, 4, New York: Mercury Press, 1964. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1964, 4, New York: Mercury Press, 1963. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1963, 4, New York: Mercury Press, 1961. Original Proof Illustration . No Binding. Fine. Proof, Color. Fine. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1961, 5, New York: Mercury Press, 1962. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine But Dampstaining In White Margin At Left. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1962, 4, New York: Mercury Press, 1962. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine.Image Is 7 3/4" X 5 5/16", With 1/2" White Margin At Left (Where Spine Printing Would Go). Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1962, 4, New York: Mercury Press, 1961. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1961, 4, New York: Mercury Press, 1963. Original Proof Illustration . No Binding. Fine. Proof, Color. Fine. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1963, 5, Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009. Book. Near Fine. Boxed Set. 48 pages. A small bump to the gray cloth box with minor rubbing and wear. A selection of recent and newly commissioned pieces, incorporated into spaces constructed especially for this exhibition, is combined here with prints, photographs, objects and drawings. This box set comes with A1, A2, A3 and A4 posters, a unique signed drawing, two A5 books, postcards and two A4 books containing essays, documentation of individual works and installation images. Drawing on video, photographs and drawings from the exhibition, the posters reference works including Night and Day, 100 boxes, 1000 points, Shelf, Space Wallpaper and Some words, some more words.., Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009, 4<

2009, ISBN: 9781904864523

Taschenbuch

New York: Mercury Press, 1962. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine.Image Is 7 3/4" X 5 5/16", With 1/2" White Margin At Left (Wh… Mehr…

New York: Mercury Press, 1962. Original Proof Illustration . No Binding. Near Fine. Proof, Color Print. Fine.Image Is 7 3/4" X 5 5/16", With 1/2" White Margin At Left (Where Spine Printing Would Go). Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia), Mercury Press, 1962, 4, Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009. Book. Near Fine. Boxed Set. 48 pages. A small bump to the gray cloth box with minor rubbing and wear. A selection of recent and newly commissioned pieces, incorporated into spaces constructed especially for this exhibition, is combined here with prints, photographs, objects and drawings. This box set comes with A1, A2, A3 and A4 posters, a unique signed drawing, two A5 books, postcards and two A4 books containing essays, documentation of individual works and installation images. Drawing on video, photographs and drawings from the exhibition, the posters reference works including Night and Day, 100 boxes, 1000 points, Shelf, Space Wallpaper and Some words, some more words.., Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009, 4<

2009, ISBN: 9781904864523

Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009. Book. Near Fine. Boxed Set. 48 pages. A small bump to the gray cloth box with minor rubbing and wear. A selection of recent an… Mehr…

Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009. Book. Near Fine. Boxed Set. 48 pages. A small bump to the gray cloth box with minor rubbing and wear. A selection of recent and newly commissioned pieces, incorporated into spaces constructed especially for this exhibition, is combined here with prints, photographs, objects and drawings. This box set comes with A1, A2, A3 and A4 posters, a unique signed drawing, two A5 books, postcards and two A4 books containing essays, documentation of individual works and installation images. Drawing on video, photographs and drawings from the exhibition, the posters reference works including Night and Day, 100 boxes, 1000 points, Shelf, Space Wallpaper and Some words, some more words.., Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009, 4<

2009, ISBN: 9781904864523

Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009. 48 pages. A small bump to the gray cloth box with minor rubbing and wear. A selection of recent and newly commissioned pieces,… Mehr…

Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009. 48 pages. A small bump to the gray cloth box with minor rubbing and wear. A selection of recent and newly commissioned pieces, incorporated into spaces constructed especially for this exhibition, is combined here with prints, photographs, objects and drawings. This box set comes with A1, A2, A3 and A4 posters, a unique signed drawing, two A5 books, postcards and two A4 books containing essays, documentation of individual works and installation images. Drawing on video, photographs and drawings from the exhibition, the posters reference works including Night and Day, 100 boxes, 1000 points, Shelf, Space Wallpaper and Some words, some more words.. Boxed Set. Near Fine., Ikon Gallery, Birmingham and The Tower Plant, Toronto, 2009, 4<