2002, ISBN: 9780262194594

London: Printed for Baldwin, Cradock, and Joy, Paternoster Row and J. Hatchard, Piccadilly, 1817. First Edition. Hardcover. Very Good. 8vo. FIRST EDITION, 1817. TWO VOLUMES BOUND IN ONE… Mehr…

London: Printed for Baldwin, Cradock, and Joy, Paternoster Row and J. Hatchard, Piccadilly, 1817. First Edition. Hardcover. Very Good. 8vo. FIRST EDITION, 1817. TWO VOLUMES BOUND IN ONE. Hardcover. Full leather calf binding. Covers are plain with debossed pattern and gilt tooled border at the edges. Leather spine is hubbed, bearing four raised bands. Decorated with tooled gilt ornamentation. Green label is stamped with gilt lettering. Endpapers are marbled in blue and white hues. <br><br>VOLUME I: Contents include Sources of Error in Opinion, Full Assurance of Understanding, Full Assurance of Faith, Full Assurance of Hope, Christian Obedience, The Form and Power of Religion, and True and False Repose in Death. Contains advertisements of other works at the end of this volume. 288 pp. <br><br>VOLUME II: Contents include False Modesty in Religion, The Duty of Christian Affection between Ministers and their Flock, and Comparative View of Natural and Revealed Religion. 303 pp. <br><br>ABOUT THE AUTHOR: "Samuel Charles Wilks (1789–1872) was an evangelical clergyman of the Church of England, known as a journalist. He was son of Samuel Wilks of Newington, Surrey, and was educated for the church. He matriculated at St Edmund Hall, Oxford, on 8 June 1810, aged 21, and graduated B.A. in 1814 and M.A. in 1816. Wilks took holy orders, being ordained deacon in 1813, and priest in 1814, by Richard Beadon. He was curate at Norton Malreward, Chew Stoke and Exeter St Martin. He attached himself to the Clapham sect, and in 1816 succeeded Zachary Macaulay as editor of the Christian Observer, the organ of the sect. While an undergraduate Wilks won in 1813 the premium of the Society for Promoting Christian Knowledge for an Essay on the Signs of Conversion and Unconversion in Ministers of the Church, which was published in 1814, and reached a third edition in 1830. In 1817 he dedicated to Hannah More two volumes of Christian Essays (London)." (Wikipedia). <br><br>CONDITION: Copy shows overall wear; joints and hinges are weakening, yet binding remains sound. 1" diagonal open tear at the head of the spine. While there is foxing within the endpages, the main textblock is generally clean, with only occasional foxing. This book is free from marginalia or annotation, with the exception of a previous owners' names and inscription dated 1817, 1822 and 1823 in dipped ink, and also on the title page of Volume II, dated 1817. A nice copy. <br><br>Additional photos available upon request. Full refund if not satisfied., Printed for Baldwin, Cradock, and Joy, Paternoster Row and J. Hatchard, Piccadilly, 1817, 3, * Among other topics, the book covers Schneemann's response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani. 110782, 0<

2002, ISBN: 9780262194594

M.I.T. Press, Cambridge, 2002. hardcover with dust jacket. fine. Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, su… Mehr…

M.I.T. Press, Cambridge, 2002. hardcover with dust jacket. fine. Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement's sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women's studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments.<br><br><i>Imaging Her Erotics</i> integrates images from Schneemann's works in painting, collage, drawing, and video sculptures with written material drawn from the artist's journals, dream diaries, essays, and lectures. Encompassing four decades of her work, it demonstrates her profound influence on artists in all media. An opening essay by Kristine Stiles presents Schneemann's major themes and places her work in a historical context. Among other topics, the book covers Schneemann's response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani., M.I.T. Press, Cambridge, 2002, 5<