Søgningsresultat

Peter Owen Publishers, 2003. Large 8vo in softcover. 239 pp. With illustrations. Fine clean copy, like new. First Trade edition.

Borgen, 1971. 91 pp. Hft. Illustreret med Kirkeby's tegninger og fotografier. Lidt brugsspor. Første udgave. Med tilskrift på halvtitel skrevet af Kirkeby i hånden med kuglepen " til min smukke elskværdige vært...." .-

Katalog der Faszikel in der Arbeitsbibliothek von Jan Tschichold. Edition Ostschweiz, 16. VGS, Verl.-Genossenschaft, 2015. Tall slim 8vo in wraps w jacket as issued 15×24, 82 pages. Near fine / fine copy. First edition.

Gyldendal, 1989. Original kartonbind (hardcover). 115 pp. Navn. Nogle brugsspor. Første danske udgave. Fra serien "Gyldendals Kulturbibliotek".

Creation, 1996. Large 8vo in softcover. 256 pages, richly illustrated. Very good copy.

Chronicle Books, San Francisco, 1984. Squarish 8vo in wraps as issued. 90 pages, richly color illustrated. Includes a conversation with Edward Ruscha. Near fine clean copy. First edition.

Gyldendal, 2009. Hardcover. 364 sider. Pænt eksemplar. 1. oplag.

Antipyrine, 2018. 2018 pp. Hft. Rent eksemplar. Første udgave, 1. oplag.

Museum Tusculanum, 1998. Lille hardcover. 125 pp. Nærmest som ny.

London: Vision Press Ltd., 1951. 8vo. Publishers hardcover with slightly worn but unclipped dustjacket. 89 pp. Illustrated with photographs, still from the movie. Very good copy. First edition. Da zdravstvuyet Meksika! is a film project begun in 1930 by Eisenstein (1898–1948) under contract to socialist author Upton Sinclair and other supporters in the United States. It would have been an episodic portrayal of Mexican culture and politics from pre-Conquest civilization to the Mexican Revolution. Production was beset by difficulties and was eventually abandoned. Jay Leyda and Zina Voynow call it Eisentein's "greatest film plan and his greatest personal tragedy". In the early 20th century, many intellectuals and artists associated with the European avant garde were fascinated by Latin America in general, and by Mexico in particular: for the French artist and leader of the Surrealist movement André Breton, for instance, Mexico was almost the incarnation of Surrealism. As film historian David Bordwell notes, "like many Leftists, Eisenstein was impressed that Mexico has created a socialist revolution in 1910". His fascination with the country dated back at least to 1921, when at the age of twenty-two "his artistic career started with a Mexican topic" as he put on a theatrical version of the Jack London story The Mexican in Moscow. Film scholar Inga Karetnikova details this production as a classic example of avant-garde aesthetics, an exercise in form rather than documentary realism; but "indirectly", she argues, "he did recreate the Mexican atmosphere". Above all, he saw in the Mexican revolution an instance of a "zealous idealism" that was also "close to Eisenstein, just as it was to the entire generation of Soviet avant-garde of the early 1920s". Some years later, in 1927, Eisenstein had the opportunity to meet the Mexican muralist Diego Rivera, who was visiting Moscow for the celebrations of the Russian revolution's tenth anniversary. Rivera had seen Eisenstein's film Battleship Potemkin, and praised it by comparing it to his own work as a painter in the service of the Mexican revolution; he also "spoke obsessively of the Mexican artistic heritage", describing the wonders of Ancient Aztec and Mayan art and architecture. The Russian director wrote that "the seed of interest in that country . . . nourished by the stories of Diego Rivera, when he visited the Soviet Union . . . grew into a burning desire to travel there". "It’s a really tragic film, because its ambitions were so great, it was spanning centuries of time, extraordinary resources were marshaled towards its production, and all we have is this ruin essentially, but it’s a glorious ruin." (Thomas Beard).

Forlaget KLIM 2018. To hardcover bind, det ene uden smudsomslag. 425, 448 sider. Godt sæt.

Frankfurt am Main: Vittorio Klostermann 1987 (1977). 8°. Hardcover, mit OU. XII, 436 Seiten. Name. Viele Anstreichungen mit Kugelschreiber.

Gyldendal, 1987. 179 pp. Hft.

London, Imago Publishing Co, 1949 (1940). Original blue cloth. 266 pp. Bleistiftsnotizen, sonst gutes Exemplar. Revision der Traumlehre -- Traum und Okkultismus -- Die Zerlegung der psychischen Persönlichkeit -- Angst und Triebleben -- Die Weiblichkeit -- Aufklärungen, Anwendungen, Orientierungen -- Über eine Weltanschauung.

Arena, 1977. 211 pp. Hft. Oversat af Peer Hultberg.

Harper Perennial Modern Classics, 2007 (2006). Paperback. 8, 358, 15 pp. Light edgewear, a fold to frontcover. SIGNED in hand by Irvin D. Yalom to titlepage, dated 2007. SIGNERET i hånden af Yalom på titelbladet.

Gyldendal, 2011. 304 pp. Hft. 1ste danske udgave.

Høst & Søn, 1972. Original hardcover. Upagineret. Illustreret i s/h og farver. Godt eksemplar.

London: The Folio Society, 1962. Publishers hardcover. 132 pp. Very good copy. First edition thus.

Forlaget Gjellerup, 1959. Kvadratisk 8vo i hardcover, med omslag. 262 pp. Illustreret. Godt eksemplar.

Antipyrine / OVO 2015. Small slim 8vos in wraps as issued. 46, 120 pp. Some discoloring to cover else a clean, fine, unused set. This is the first time Bishan Commune: How to Start Your Own Utopia, a notebook by the Chinese activist, editor, and curator Ou Ning, has been published in English. The notebook is a graphic montage piece, where comments, thoughts and short accounts from Ou Ning’s travels to Bishan are intertwined with drawings, clippings, color-coded text, handwritten notes, pictures and quotes. The publication consists of two books: the first volume contains a facsimile of Ou Ning’s original notebook in full color; the second volume is a translation of the notebook from the Chinese by Mai Corlin and Austin Woerner also including an interview with Ou Ning not previously published in English as well as Ou Ning’s 2012 text “Autonomy: Utopia or Realpolitik,” which lays out Ou Ning’s understanding of ongoing anarchist practices in a totalitarian, capitalist reality . - Ou Ning was born in rural Guangdong province in 1969. His practice covers a wide range of projects straddling the fields of art and politics. As a filmmaker, he directed the documentary Meishi Street (2006) concerning local acts of resistance against the demolition of an area in a central part of Beijing in relation to the 2008 Olympics. As curator he has headed the 2009 Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture, and from 2011 to 2013 he was chief editor of the literary bi-monthly Chutzpah!, a magazine that has dealt in-depth with issues such as agrarian communities in East Asia, revolution, queer literature and George Bataille. And these are just a few of Ou Ning’s undertakings.

London: The Folio Society 1995. Large tall 8vo, hardcover in slipcase. 234 pp. Illustrated. Light wear to case else clean and fine copy. 1st thus.

Dia Art Foundation, New York, 1996. Small 8vo in wraps as issued. XV, 206 pp., illus., bib. notes. Light edgewear else fine clean copy. The first in the series of the Robert Lehman Lectures on Contemporary Art. Artists discussed include Lawrence Weiner, Brice Marden, Joseph Beuys, Dan Graham, Robert Gober, Katharina Fritsch, On Kawara, Ann Hamilton, and James Coleman.

Edinburgh University Press with John Hansard Gallery, 2016. 4to in stiff wraps as issued. 116 pages, plus plates at end. Near fine clean copy with only minor shelfwear. First edition. "The influence of Roland Barthes on Burgin's work is well documented. Equally, Burgin's prominence as an artist and theorist concerned with text and image offers a productive dialogue with Barthes' work. Victor Burgin has long been considered both theorist and practitioner, while Barthes is more known as a theorist and writer. In bringing to the fore Barthes's practice of painting and drawing, Barthes/Burgin prompts a new critical consideration of Barthes/Burgin, theory/practice, writing/making and criticality/visuality. Barthes/Burgin features two new interviews with Burgin, one concerned with his turn to new digital practices and the other a reflection on his reading of Roland Barthes. Also included are images and texts from the artists and an essay critically examining Barthes' exercises in drawing and painting. This book accompanied an exhibition at the John Hansard Gallery (February to April 2016), bringing together recent projection works by Victor Burgin and a selection of drawings by Roland Barthes rarely seen outside of France. The exhibition played with Barthes' use of the slash as established in semiology (and notably used in the title of Barthes' key poststructuralist work S/Z). "

New York: (Farrar, Strauss, Griroux) Book Club Edition, 1987. 659 pp. Publisher's hardcover cloth with unclipped somewhat worn (see photos), now protected dustjacket. Clean inside and overall a good to very good copy. First Book Club edition 1987. Jacket designed by Fred Marcellino.