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Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

The catalogue raisonné consists of the entire exhibition catalogue described above, as well as 400 entries with full scholarly documentation, resulting in an invaluable resource for scholars, dealers, and collectors.

This book was published as the accompanying catalog to the exhibition H.C. Westermann - West held at the Richmond Art Center in the Fall of 1997. It shines new light on H. C. Westermann's influences on the California Art scene and documents many of his unique artistic contributions. It features 100+ black and white reproductions, 8 full-color plates, essays by Allan Frumkin, Peter Selz, David McCarthy, John Fitz Gibbon, Phil Linares, Phil Pasquini, Martha Westermann Renner, and reflections by artists and friends including William T. Wiley, Billy Al Bengston, Terry Allen, and others.

"This volume, published on the occasion of a major exhibition organized by the Museum of Contemporary Art, Chicago, is the first comprehensive study of Westermann's sculptures, which are examined closely in original and lively texts and more than two hundred illustrations. Encompassing the vast range of the artist's work, from his early constructions of the mid-1850s to his final sculptures of the early 1980s, this catalogue places Westermann's art in the context of his wartime service, his personal experiences, and the politics of his time. The resulting portrait reveals as never before the ideas behind Westermann's unique assemblages."

"This volume, published on the occasion of a major exhibition organized by the Museum of Contemporary Art, Chicago, is the first comprehensive study of Westermann's sculptures, which are examined closely in original and lively texts and more than two hundred illustrations. Encompassing the vast range of the artist's work, from his early constructions of the mid-1850s to his final sculptures of the early 1980s, this catalogue places Westermann's art in the context of his wartime service, his personal experiences, and the politics of his time. The resulting portrait reveals as never before the ideas behind Westermann's unique assemblages."

A look at the sculptor's life and views is offered through letters and pictures drawn for family and friends over a thirty-year period

This book examines the antiwar work of one American artist in relation to the cultural history of the Cold War. The study provides new and detailed information on this important artist, while also contributing to the study of masculinity, dissent, art, violence, and war in the last half of the twentieth century. The study clearly reveals that artists' protests against American foreign policy began well before the official U.S. entry in the Vietnam War, and that not all combat veterans looked back fondly on their experience of the Good War. Finally, in drawing attention to the challenges of being a man in a hostile world, Westermann's art enters into a much broader consideration of gender long before this issue became topical in contemporary art. Illustrated.

The catalogue raisonné consists of the entire exhibition catalogue described above, as well as 400 entries with full scholarly documentation, resulting in an invaluable resource for scholars, dealers, and collectors.

A look at the sculptor's life and views is offered through letters and pictures drawn for family and friends over a thirty-year period

The American sculptor, painter, draftsman, and printmaker H.C. Westermann (1922-1981) was a central figure in American art, lauded as an American original who steadfastly followed his own finely crafted and keenly ironic sensibilities. Published in conjunction with the David and Alfred Smart Museum's "See America First" exhibit, this book presents the first comprehensive, scholarly consideration of Westermann's graphic work and serves as a catalogue raisonné of his prints: 100 large-format color images and 20 black and white illustrations are accompanied by detailed entries containing key historical information on Westermann's art. Critic, curator, and art historian Dennis Adrian contributes an overview essay examining Westermann's body of work."See America First" will be exhibited at the David and Alfred Smart Museum of Art from June 30 to September 23, 2001.

From Director's Foreword: "The Contemporary Museum, Honolulu, is pleased and proud to have organized Dreaming of a Speech Without Words : The Paintings and Early Objects of H. C. Westermann. The link between H.C. Westermann and Hawaii, though not immediately obvious to many viewers, is evident in the recurrent images of lone palm trees and tropical islands in the artist's drawings, paintings and sculpture. This imagery is ostensibly a product of the time Westermann spent traversing the islands of the pacific Ocean when stationed aboard the USS Enterprise during World War II. Perhaps this imagery is one reason that islanders have an affinity with Westermann. Another could be that, like them, Westermann is considered an outsider--someone who maintained a distance from the established mainstream throughout his life. Whatever the reason, Hawaii-based collectors have long been attracted to his work. We are especially fortunate to have generous access to the holdings of two fine Honolulu collections--those of Jay and Wallette Shidler and of Sharon and Thurston Twigg-Smith...."

The American sculptor, painter, draftsman, and printmaker H.C. Westermann (1922-1981) was a central figure in American art, lauded as an American original who steadfastly followed his own finely crafted and keenly ironic sensibilities. Published in conjunction with the David and Alfred Smart Museum's "See America First" exhibit, this book presents the first comprehensive, scholarly consideration of Westermann's graphic work and serves as a catalogue raisonné of his prints: 100 large-format color images and 20 black and white illustrations are accompanied by detailed entries containing key historical information on Westermann's art. Critic, curator, and art historian Dennis Adrian contributes an overview essay examining Westermann's body of work."See America First" will be exhibited at the David and Alfred Smart Museum of Art from June 30 to September 23, 2001.

From Director's Foreword: "The Contemporary Museum, Honolulu, is pleased and proud to have organized Dreaming of a Speech Without Words : The Paintings and Early Objects of H. C. Westermann. The link between H.C. Westermann and Hawaii, though not immediately obvious to many viewers, is evident in the recurrent images of lone palm trees and tropical islands in the artist's drawings, paintings and sculpture. This imagery is ostensibly a product of the time Westermann spent traversing the islands of the pacific Ocean when stationed aboard the USS Enterprise during World War II. Perhaps this imagery is one reason that islanders have an affinity with Westermann. Another could be that, like them, Westermann is considered an outsider--someone who maintained a distance from the established mainstream throughout his life. Whatever the reason, Hawaii-based collectors have long been attracted to his work. We are especially fortunate to have generous access to the holdings of two fine Honolulu collections--those of Jay and Wallette Shidler and of Sharon and Thurston Twigg-Smith...."

Genesis 1-11: A Continental Commentary [Hardcover] [Jan 05, 1994] Westermann,...

The second book in the City Trilogy, Scorch City is a dark and unsettling thriller of urban unease. Journalist Frank Frings rouses Lt. Piet Westermann in the middle of the night with an unusual request: move the body of a dead blonde from where she was found―on the bank of a river near the utopian Uhuru Community, a shantytown under threat from a deadly coalition of racists and anticommunists―and find out how the body actually got there. As the investigation deepens, the deaths and disappearances add up, and the detectives of the City must uncover the truth behind Uhuru and the murders, while keeping their own dark secrets hidden within the streets of the unforgiving City.

Genesis 1-11: A Continental Commentary [Hardcover] [Jan 05, 1994] Westermann,...

The vitality and importance of the Psalms today is clearly communicated in this helpful survey by a renowned Old Testament scholar and teacher. The collected praises and laments of ancient Israel are seen as constant reminders of God's nearness to the needs of his people. Dr. Westermann carefully charts the different collections and types of psalms, explaining their original settings in daily life. Key examples unfold the patterns of Old Testament prayer and worship, helping us appreciate Psalms' powerful and timeless message.

The second book in the City Trilogy, Scorch City is a dark and unsettling thriller of urban unease. Journalist Frank Frings rouses Lt. Piet Westermann in the middle of the night with an unusual request: move the body of a dead blonde from where she was found―on the bank of a river near the utopian Uhuru Community, a shantytown under threat from a deadly coalition of racists and anticommunists―and find out how the body actually got there. As the investigation deepens, the deaths and disappearances add up, and the detectives of the City must uncover the truth behind Uhuru and the murders, while keeping their own dark secrets hidden within the streets of the unforgiving City.

Praise and lament are two major approaches to praying to God. In this book, Claus Westermann investigates these primary categories of the Psalms and shows their meaning for prayer and worship. He contrasts the Old Testament Psalms with those of Babylon and Egypt indicating their distinctive characteristics. Sensitively written and carefully reasoned, Westermann's book will be valued for the clear-cut way it brings light to the character of the ancient Psalms of Israel.

Beginning with responses to fascism in the 1930s and ending with protests against the Iraq wars, David McCarthy shows how American artists—including Philip Evergood, David Smith, H. C. Westermann, Ed Kienholz, Nancy Spero, Leon Golub, Chris Burden, Robert Arneson, Joyce Kozloff, Martha Rosler, and Coco Fusco—have borne witness, registered dissent, and asserted the enduring ability of imagination to uncover truths about individuals and nations. During what has been called the American Century, the United States engaged in frequent combat overseas while developing technologies of unprecedented lethality. Many artists, working collectively or individually, produced antiwar art to protest the use or threat of military violence in the service of an expansionist state. In so doing, they understood themselves to be fighting on behalf of two liberal beliefs: that their country was the guarantor of liberty against empire, and that modern art was a viable means of addressing the most compelling events and issues of the moment. For many artists, creative work was a way to participate in democratic exchange by challenging and clarifying government and media perspectives on armed conflict. Charting a seventy-five-year history of antiwar art and activism, American Artists against War, 1935–2010 lucidly tracks the continuities, preoccupations, and strategies of several generations.