‎CASPARY Vera‎
‎LAURA‎

‎HET GROTE LAURA'S STER BOEK, ‎

‎Antwerpen , De Vries - Brouwers, Gebonden, 127pp. nieuw. ISBN 9789059272439.‎

‎Laura en Tommy en hun ouders zijn verhuisd. Laura's moeder heeft een baan gekregen bij de opera, als celliste. Laura mist haar oude huis en alles eromheen heel erg. Niets is meer zoals het was! Als Laura op een avond op het terras staat, ziet ze hoe een ster in het park vlakbij valt. Ze gaat op zoek en vindt de kleine ster. Ze neemt hem mee naar huis en verzorgt hem liefdevol. Daarmee begint een hechte, mooie vriendschap. Maar Laura moet ook leren los te laten, want de ster wil weer naar huis. Buurjongen Max helpt Laura bij het afscheid nemen. En dan heeft Laura er nog een vriendje bij. Nieuw. ‎

‎LAURA VAN, SEX MET VERF‎

‎, Posture Editions Nr 29, 2018 PB, 297 x 210 mm, 96 pages, NL edition, Illustrated. ISBN 9789491262302.‎

‎Posture Editions and Laura Van worked on SEX WITH PAINT, a publication with recent still lifes by Van. The works, for which the artist uses only oils, are without photographic point of departure: they are the result of an inflection of what the artist observes on the table in his living and working space. They are therefore anecdotal-autobiographical in nature?a nature that is emphatically determined by the motorial and psychological intentions of the moment. Each still life is an accumulation of language, anecdotal elements, coffee, pages, stains, dots and modulations of tonal depths and shades of grey. Laura van?s art is an eruption of thoughts about painting, channelled in oils that evoke the illusion of piles of books and grubby tables. The grey, drab paintings are outside time. We notice traces of French painters such as Corot, Vuillard, Soutine, C zanne or the German Corinth, though that may be a mistake, a paintwise trompe l?oeil. On the opposite page, facing the paintings, a voice-over text has been printed: Laura as it were comments on the paintings, while he also seems to shuffle the piled-up books. Laura (b. 1957) was almost 30 years the artistic director of croxhapox, based in Ghent, Belgium.‎

‎Wiersze posmiertne Laury Przezdzieckiej 23 Czerwca 1874. Laura‎

‎Paryz [Paris], drukarnia E. Martinet 1875 125pp. + frontispiece (original picture of Laura tipped-in), with handwritten dedication: "Souvenir posthume de l'Absente offert par son fidèle interprète à Madame Octavie Zdziechowska, Nice 20 février 1875", 18cm., original softcover (small loss of paer at upper end of spine), stamp on titlepage and in margin of p.13, text clean and bright, printed on luxury paper, good condition, rare, [contains: Trzy chwile mego zycia - Poésie d'outre-tombe (pp.5-63, bilingual: Polish-French) & Tristes echos dans mon ame (pp.65-125, in French) ; Posthumuous edition of poems by Laura Przezdziecka, 1853-1874], Y101461‎

‎IL CIRCOLO CULTURALE ANTONIO LABRIOLA NEL VENTENNALE DELLA RESISTENZA PRESENTA LA COMPAGNIA LAURA BETTI IN "LIBERTA' E RESISTENZA".‎

‎Civico Teatro Fraschini - Pavia. Mercoledì 19 maggio, ore 21,15. Tipografia Popolare, (1965). Locandina originale (cm. 95 x 60), titoli in nero su fondo arancione, dello spettacolo teatrale in 2 tempi Libertà e Resistenza, diretto da Laura Betti, con: Laura Betti, Remo Foglino, Sandro Panseri, Franco Bisazza, Anna Nogara, Beppe Pavarani (al pianoforte). Montaggio, testi e canzoni a cura di Filippo Crivelli. Laura Betti (1927 - 2004), bolognese. Fu attrice di prosa e cinematografica, cantante, regista e documentarista. Nel 1965 esordisce nella regia teatrale con "Libertà e resistenza", mentre nel 1968 viene diretta in "Orgia" da Pier Paolo Pasolini, nella sua unica regia per il teatro.Ben conservata.‎

‎Laura Letinsky : Now Again‎

‎, Galerie Kusseneers, 2005 Hardcover, 120 pages, ENG / NL.,225 x 225 x 14 mm, As New / Nieuwstaat, illustr. in color / kleur. ISBN 9789076732091.‎

‎Laura Letinsky's photo series Hardly More Than Ever records, in the style of Flemish still-life painters of the sixteenth and seventeenth centuries, the aftermath of human consumption, capturing sunny tables against white walls, crumbs, orange peels, melon rinds and candy wrappers. Like her forebears, Letinsky evidences human presence through its absence, suggests death through decay (in this case, of peonies and half-eaten toast) and tacks on a moral message about the obscenity of abundance, of having crumbs to leave. Also like her forebears, she contradicts those messages implicitly, or at the very least complicates them, by making art that feels very likely to last, to withstand the effects of time. Recent photographs of formal flower gardens and empty rooms on moving day, with a shelf, a shade or a surge suppressor left behind, explore similar issues. Letinsky, who teaches at the University of Chicago, studied photography at Yale and has been a Guggenheim fellow. Her work has appeared at the Art Institute of Chicago and the Museums of Modern Art in San Francisco and New York.‎