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1 |
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1 |
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1 |
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| 100 |
1 |
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|a Rossiter, Alison,
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| 240 |
1 |
0 |
|a Photographs
|k Selections
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| 245 |
1 |
0 |
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|c Alison Rossiter
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| 246 |
3 |
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|a Alison Rossiter :
|b expired paper
|
| 264 |
|
1 |
|a Santa Fe, NM :
|b Radius Books ;
|a New York, NY :
|b Yossi Milo,
|c [2017]
|
| 264 |
|
2 |
|a New York, NY :
|b D.A.P./Distributed Art Publishers,
|c [date of distribution not identified]
|
| 264 |
|
4 |
|c ©2017
|
| 300 |
|
|
|a 173 pages (some folded) :
|b chiefly illustrations (some color) ;
|c 32 cm +
|e 1 booklet (unpaged)
|
| 300 |
|
|
|a 173 pages (some folded) :
|b chiefly illustrations (some color) ;
|c 33 cm +
|e 1 booklet (16 unnumbered pages)
|
| 300 |
|
|
|a 173 pages (some folded) :
|b chiefly illustrations (some color) ;
|c 33 cm +
|e 1 booklet (unpaged)
|
| 336 |
|
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|a still image
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| 336 |
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| 338 |
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| 500 |
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| 500 |
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|a Booklet issued attached to inside back cover
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| 500 |
|
|
|a Includes essay by Leah Ollman
|
| 505 |
0 |
|
|a Between what is and what else / Leah Ollman -- Latent -- Tarnish -- Landscapes -- Pools -- Dips + pours -- Quads -- The darkroom / Alison Rossiter
|
| 505 |
0 |
0 |
|t Between what is and what else /
|r Leah Ollman --
|t Latent --
|t Tarnish --
|t Landscapes --
|t Pools --
|t Dips + pours --
|t Quads --
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|r Alison Rossiter
|
| 520 |
8 |
|
|a Divided into sections that represent the breadth of Alison Rossiter's (born 1953) process and vision, 'Expired Paper' offers a comprehensive look at the artist's body of cameraless photo-art Latent, Landscapes, Pools, Pours, Dips, Blurs, Fours and Collages. Art critic Leah Ollman has been contemplating Rossiter's work for years, and her accompanying text serves as an ideal complement to the images: 'All of the works pay homage to the rich idiosyncrasies of photographic papers across history, and restore a sanctity to the photograph as object. Made without cameras, lenses or film, the works are nothing but process and materiality.' The book also includes a selection of early 20th-century photographic paper packages (which the artist has collected for over 10 years) in a separate booklet
|
| 520 |
8 |
|
|a Divided into sections that represent the breadth of Alison Rossiter's (born 1953) process and vision, 'Expired Paper' offers a comprehensive look at the artist's body of cameraless photo-art. Latent, Landscapes, Pools, Pours, Dips, Blurs, Fours and Collages. Art critic Leah Ollman has been contemplating Rossiter's work for years, and her accompanying text serves as an ideal complement to the images: 'All of the works pay homage to the rich idiosyncrasies of photographic papers across history, and restore a sanctity to the photograph as object. Made without cameras, lenses or film, the works are nothing but process and materiality.' The book also includes a selection of early 20th-century photographic paper packages (which the artist has collected for over 10 years) in a separate booklet
|
| 520 |
8 |
|
|a Divided into sections that represent the breadth of Alison Rossiter's (born 1953) process and vision, 'Expired Paper' offers a comprehensive look at the artist's body of cameraless photo-art? Latent, Landscapes, Pools, Pours, Dips, Blurs, Fours and Collages. Art critic Leah Ollman has been contemplating Rossiter's work for years, and her accompanying text serves as an ideal complement to the images: 'All of the works pay homage to the rich idiosyncrasies of photographic papers across history, and restore a sanctity to the photograph as object. Made without cameras, lenses or film, the works are nothing but process and materiality.' The book also includes a selection of early 20th-century photographic paper packages (which the artist has collected for over 10 years) in a separate booklet
|
| 520 |
8 |
|
|a Divided into sections that represent the breadth of Alison Rossiter's (born 1953) process and vision, 'Expired Paper' offers a comprehensive look at the artist's body of cameraless photo-art?Latent, Landscapes, Pools, Pours, Dips, Blurs, Fours and Collages. Art critic Leah Ollman has been contemplating Rossiter's work for years, and her accompanying text serves as an ideal complement to the images: 'All of the works pay homage to the rich idiosyncrasies of photographic papers across history, and restore a sanctity to the photograph as object. Made without cameras, lenses or film, the works are nothing but process and materiality.' The book also includes a selection of early 20th-century photographic paper packages (which the artist has collected for over 10 years) in a separate booklet
|
| 561 |
|
|
|a Rubenstein Library copy 1: Acquired as part of the Archive of Documentary Arts (Duke University)
|5 NcD
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0 |
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