Søgningsresultat

Denmark, Academica, 2007. Paperback Octavo. Paperback. wraps, 430 pp. Clean copy. 1st edition.

Washington, D. C: Smithsonian Institution Press, 1994. Small 4to in stiff wraps as issued. 62 pages. Hint of wear to cover corners and foredge else clean and overall a very good or near fine copy. First edition, 1st printing . - Part of the Photographers at Work Series. Includes an interview with Eggleston along numerous color photographs of horses and dogs in various situations.

London, Imago Publishing Co, 1948 (1942). Original bluecloth. XV, 722 pp. Rubbing to cloth and a few pencil notes else overall a very good copy.

Paris, Galerie Karsten Greve, 1989. 4° hardcover in original slipcase. 141 psages, richly illustrated with text in both German / Englsih and French. Fine clean copy. First edition. Publié à l`occasion de l`exposition Lucio Fontana Peintures et Sculptures à la Galerie Karsten Greve, Paris, 30. Novembre 1989 - 6. Février 1990.

Published by twomonsters agency for Galerie im Taxispalais, Innsbruck and Stadtgalerie Schwaz, 2010. 8vo. Folder with text (71 pages) and a set of loose sheets, postcards. Unread fine clean and complete copy. 1st edition. Inscribed by the artist to innercover of case. - Texts in English and German by Gert Chesi, Beate Ermacora and Karin Pernegger.

Copenhagen: 2004. 8vo. Original illustrated wraps. 42 unpaginated loose pages in plastique slipcase, as issued. Illustrated. Text in both English and Danish. Very good copy. Complete. The catalogue. Dansk Design Center, København, 6.11. 2004 - 6.2. 2005.

University of Tokyo Press, 1978 (1977 / 1975). 8vo in softcover. XLI, 806 pp. Red endpapers. Spines sunned else very good clean set with only minor shelfwear. Second paperback printing 1978 of the first complete translation into English. - The Tale of the Heike is one of the masterworks of Japanese literature, a great martial epic and a masterpiece of world literature and the progenitor of all samurai stories: "The story of the Heike was compiled from a collection of oral stories recited by travelling monks who chanted to the accompaniment of the biwa, an instrument reminiscent of the lute. The most widely read version of the Heike monogatari was compiled by a blind monk named Kakuichi, in 1371. The Heike is considered one of the great classics of Medieval Japanese literature. Two main strands feed into the central ethos of the tale, samurai and buddhist. At one level, the Tale is an account of martial heroism – of courage, cruelty, power, glory, sacrifice and sorrow. Those who emphasise this aspect of the story point to its glorification of the heroic spirit, its avoidance of the realistic brutality and squalor of war, and its aestheticisation of death: a classic instance of the latter is the comparison of the drowned samurai in the final battle to a maple-leaf brocade upon the waves. Others, while still accepting the importance of the military episodes and of heroic figures like Yoshitsune, would emphasise instead the Tale’s immersion in Buddhist thought, and its themes of duty, Dharma, and fate".

Barcelona, 1977. 52cm x 36cm. Some edgewear. Rolled. José "Pepe" González (1939 – 2009), Catalan illustrator, mainly known for his work with Vampirella.

London: Studio Editions Ltd, 1989 and 1990 (1988). 2 vols in oversized big and heravy hardcovers with jacket. 285, 285 pp. Illustrated in bw and color. Fine clean set. NB: Very large and heavy books and extra shipping may apply: Please inquire before ordering this item!

London: Jonathan Cape, 1990. Squarish 8vo in wraps. 192 pages, richly illustrated with b/w landscape photographs. Name to half title, else only minor wear to corners of cover, overall a very good copy. First edition, softcover version Very fine, recommended photobook with photos of urban and suburban landscape and post-industrial dereliction and an impassioned attack on the destruction of the countryside, included a text strongly argued.

Belgrade, Yugoslavia (Serbia) : Muzej Savremene Umetnosti, 1969. Squarish 4to in wraps as issued, 75 pages. Illustrated. text in Yugoslavian and German. Very good copy. 1st ed. Štefka Cobelj, Joachim Albrecht, Hartmur Bohm, Erich Buchhlz, Karl Buchheister, Giano Colombo, Adolf Fleichmann, Kunibert Fritz, Gunther Fruhtrunk, Herman Glockner, Lily Greenham etal.

Copenhagen: Space Poetry, 2008 ff. 26 tiny square artist books, all 10 x 10 cm and illustrated, mainly in color. Light shelfwear to some covers else a clean and unread set.

London: Phaidon, 2003. Large 4° in softcover with dustjacket. 240 pages, richly illustrated. Very good clean copy. A historical survey of avant-garde cultural and political magazines and newspapers from the early 20th century to the present. It features a unique selection of international publications from Europe and the USA - including Merz (1920s), View (1940s), East Village Other (1960s), Punk (1970s), Raw (1980s), and Emigre (1990s).

New York and London: Anyone Coporation & MIT Press, 2001. Quarto in french wraps as issued. 287 pages. Text in English. Illustrated. Fine clean copy. 1st ed. "At a time when the fragmented ideas and styles in architecture make it seem as if "anything goes," Anything asks whether there are constraints to thought and action that change "anything" to "the thing." In thirty-two original essays, many of them illustrated, leading architects, theorists, historians and others discuss their works. The wide-ranging topics include a "refugee republic," "blur buildings," virtual environments, shopping, and stress. "Anything," it would seem, is many things, opening the way for architecture to embrace history, science, research, and technology. The authors include, among others, Caroline Bos, Ignasi de Solà-Morales, Elizabeth Diller, Peter Eisenman, Zaha Hadid, Jacques Herzog, Steven Holl, Osamu Ishiyama, Arata Isozaki, Romi Khosla, Rem Koolhaas, Greg Lynn, Rafael Moneo, Jean Nouvel, Wolf Prix, Hani Rashid, Bernard Tschumi, and Ben van Berkel. Anything is the tenth and final book in the ongoing series that began in 1991 with Anyone and was followed by Anywhere, Anyway, Anyplace, Anywise, Anybody, Anyhow, Anytime, and Anymore. Each volume is based on a conference at which architects and leaders in other fields came together to present papers and discuss a particular idea in architecture from a cross-cultural and multidisciplinary perspective.

Forlaget Vandkunsten, 2015. 185 pp. Hft. Små brugsspor.

New York : Dover Publications, 1955. 4to Hardcover, with jacket. XVII, 195 pages with 4.500 individual photographs describing the human figure in motion. Name, else clean and overall a very good or near fine copy. First edition thus. Very fine classic and attractive edition.

Los Angeles and London: University of California Press Berkeley, 2014. Publishers hardcover with jaacket. XI, 336 pages, with many illustrations. Fine clean unread copy. First edition. On Heartfield s groundbreaking political photomontages, published in the left-wing wekkly Arbeiter Illustrierte Zeitung (AIZ) during the 1930s and elsewhere. Kriebel foregrounds the the critical artistic practices with which Heartfield directly confronted the turbulent, ideologically charged currents of interwar Europe, exposing the cultural politics of the crucial historical moment that witnessed the consolidation of National Socialism.

Milano: Skira, 2000. 8vo in stiff wraps as issued. 291 pages, illustrated. Text in English. Fine clean and unread copy. Performance art by Vito Acconci, Giovanni Anselmo, Keith Arnatt, John Baldessari, Gianfranco Baruchello, Ben Vautier, Valentina Berardinone, Joseph Beuys, Marcel Broodthaers, Trisha Brown, Günter Brus, Enrico Bugli, Pierpaolo Calzolari, Cioni Carpi, Giuseppe Chiari, Giorgio Ciam, Jole de Freitas, Giuseppe Desiato, Alain d'Hooghe, Tery Fox, Howard Lee Fried, Gilbert e George, Dan Graham, Rebecca Horn, Enrico Job, Joan Jonas, Michel Journiac, Ketty La Rocca, Urs Lüthi, Elio Mariani, Tom Marione, Denis Masi, Eliseo Mattiacci, Fabio Mauri, Annette Messager, Otto Muehl, Nagasawa, Ugo Nespolo, Hermann Nitsch, Luigi Ontani, Dennis Oppenheim, Jean Otth, Stanislao Pacus, Gina Pane, Luca Patella, Giuseppe Penone, Gianni Pisani, Vettor Pesani, Arnulf Rainer, Klaus Rinke, Allen Ruppersberg, Lucas Samaras, Rudolf Schwarzkogler, Richard Serra, Katharina Sieverding, Aldo Tagliaferro, A. Antonio Trotta, Janos Urban, Franco Vaccari, Gruppo Zaj, Michele Zaza. - "The Body as Language" or "Body-art" and Performance" was immediately a huge hit, reviewed by some of the most influential art historians and writers (Giulio C. Argan, Edoardo Sanguineti, Max Kozloff, Lucy Lippard, François Pluchart, Peter Gorsen, Evelyn Weiss and many others) and is today considered a major classic. - A direct testimony of the birth and development of one of the most controversial art trends, Lea Vergine's book avails of a series of texts by the artists themselves, whom the author had asked to contribute with a statement about the illustrations of their work. Featuring a thorough documentation of original photographs and film photograms, videotapes, happenings, actions and performances, the book analyses the evolution of this phenomenon through the works of artists who have worked with and on the body. First edition thus. "Body Art and Performance" (= Il corpo come linguaggio - La "Body-art" e storie simili "The Body as Language").  

Revolver Publishing & Space Poetry, 2012. Squarish quarto in original wraps. 155 pages. Illustrated. Text in English. Minor wear. with an enclosed piece of paper: "this is not an artwork of mine / Mikkel Carl" (see photo).  1st ed. with handwritten note by Mikkel Carl, signed. - "A Kassen, Kristoffer Akselbo, Walead Beshty, Mikkel Carl, Simon Denny, FOS, Ryan Gander, Marc Ganzglass, Tue Greenfort, Jens Haaning, Mette Hersoug, Marie Kølbæk Iversen, Henrik Plenge Jakobsen, Jacob Jessen, Marijn van Kreij, Jette Hye Jin Mortensen, Marc Nagtzaam, Navid Nuur, Henrik Olesen, Amalia Pica, Lea Porsager, Pind, Nikolaj Recke, Katya Sander, Kasper Sonne, Simon Starling. The idea originates from the sixties. In 1966 Mel Bochner exhibited "Working drawings and other visible things on paper not necessarily meant to be viewed as art". The show simply consisted of four binders placed on separate plinths. They each contained photocopies of various material selected according to the title. Two years later, gallerist Seth Sieglaub published "The Xerox book". Featuring works by Carl Andre, Joseph Kosuth, Sol LeWitt, and Lawrence Weiner among others, the publication was a proposition for the exhibition catalogue as an artistic medium in its own right. Quite recently Mel Bochner's groundbreaking exhibition has been promoted through the publication of four completely identical catalogues. Instead of showing the four slightly varying photocopied versions of the original material, they have all rather surprisingly been made from one and the same photographic reprint. Seth Sieglaub's project is characterized by a similar paradox because in the end it proved far too expensive to produce a book made entirely photocopies. Thus "The Xerox Bbook" was duplicated using a regular printing press. Nevertheless, these two exhibitions radically transformed our comprehension of what art might be. But as Lucy Lippard has pointed out this so-called "dematerialization of the art object" all too quickly turned into a sort of "Xerox aesthetics". Functioning as a very successful brand, this particular look gave conceptual art its pyrrhic victory as it led most of its social and political ambitions to a dead end. Neither photocopy nor offset print are more neutral, or perhaps objective, than any other media. Their physicality is no less tangible than say oil paint, plaster or bronze, and if you consider a publication to be an exhibition in its own right it's probably located somewhere between the white cube and public space. However, its key strength is that it enables concentrated conceptual and sensuous qualities to flow across time and space. Anyone getting their hands on a copy of this book - whenever or wherever - will experience the presence of the artworks. "This title is an artwork of mine" presents 26 original works of art that exist solely as printed pages in a catalogue. The invited artists have more or less freely dealt with this context : graphic (re-)presentation of art. "This title is an artwork of mine" is a presentation and distribution of these rather different applications of the catalogue as a specific exhibition space."

Errant Bodies Press, 2020. 8vo in wraps as issued. 60 pages, finely printed. Fine copy. Volume one of a series on transcultural poetics: sound, text and drawings on contemporary urban experienceBased on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including Copenhagen, Berlin, Kolkata, Vienna, Delhi, Hong Kong, Mumbai and New York, among others. Each text is an act of listening, where the author records his surrounding environment and attunes to the sonic fluctuations of movement and the passing of events.What surfaces is a collection of meditations on the occurrences of life movingly interwoven with memories, associations, desires and reflections. As readers we are brought into a tender map of contemporary urban experience, and the often lonely, surprising and random interactions found in traveling.The Nomadic Listener includes parallel drawings based on the original audio recordings, and appear as ghostly renderings of the corresponding experiences. The recordings are published by the German label Gruenrekorder and accessed through a QR code included in the book.

Mark Batty Publisher, New York, NY 2009. Oblong 4to in hardcover. 144 pages, richly illustrated. Near fine / fine copy. 1. ed. "In the early 90's, a renewed spirit of co-operation and do-it-yourself initiative took hold of the North American punk and hardcore scenes."now it involved putting together the very packaging for those records. Hand-gluing sleeves, silk-screening manila envelopes, and raiding thrift stores for LP jackets that could be re-used became the norm." "From there it was only a matter of time before anything could be used as a record cover.Aluminum foil. Burlap. Vintage wall-paper. Cereal boxes. Tar paper. Anything was up for grabs. DIY Album Art documents the innovative Hand-made packaging developed to be labels such as Gravity, Bloodlink, File13, Arcade Kahca, Tree, Donut Friends, Repercussion and Vermin Scum, and those that built on that tradition like Helicopter, Corleone and Auxiliary."

Bom Dia Boa Tarde Boa Noite, Museum Sønderjylland, Kunstmuseet Brundlund Slot, 2013. Tall slim 4to in clothed boards as issued. 208 pages, richly color illustrated. Text in German, Danish and English. Light shelfwear else a clean and fine copy. Artist book. First edition. Texts: Morten la Cour, Sally O’Reilly, Solvej Helweg. Lucky Pieces is an introduction to the painting based artwork of Danish artist Mette Winckelmann. "Winckelmann’s oeuvre is a dialogue between painting and patchwork, craft and concept, which the texts vividly explore."

London: Other Criteria, 2008. Oversized large 4to. Hardcover as issued; 56 pages; in English. Illustrated richly. A hint of wear to corners of binding else clean and fine copy. Foreign shipping may be extra. First edition. "According to Sigmund Freud, young children are, by nature, "polymorphously perverse" and while their infantile sexuality is swiftly suppressed it is retained in their unconscious adult minds. Tim Noble and Sue Webster's new publication documents in beautiful detail their critically acclaimed site-specific project at the Freud Museum, which was nominated for the prestigious South Bank Prize in 2007. This includes one of their characteristic self- portrait shadow sculptures 'Black Narcissus', a plethora of silicone rubber casts of Webster's fingers and Noble's member in various states of arousal which was installed in Freud's study. There is also detailed documentation and analysis of their complex kinetic sculpture 'Scarlett' that was appropriately sited in the bedroom of Freud's daughter, Anna, the founder of child psychology. Created from modified children's toys and machine parts, 'Scarlett' utilises the actual workbench from the artists' studio, which they have used extensively over the past decade. Triggered by sensors the individual elements of this hybrid machine sculpture become animated to produce a dream-like cornucopia of repressed sexual and sadomasochistic fantasies and transgressions. The publication also provides a fascinating insight into Freud's theories and how they relate to art practice with critical essays from the distinguished American art historian Linda Nochlin and James Putnam who curated the original exhibition.Tim Noble and Sue Webster are known for magically transforming garbage into art. They sculpt piles of street rubbish, studio debris, and taxidermy animals into astonishing representations of life with "real" shadows of the artists themselves hovering over their accumulations of discarded objects. These abstract forms mysteriously reverse the abstraction into figuration. Noble and Webster have created a remarkable group of anti- monuments in their 11-year career, mixing the strategies of modern sculpture and the attitude of punk to make art from anti-art. Their work derives much of its power from its fusion of opposites, form and anti-form, high culture and anti-culture, male and female, craft and rubbish, sex and violence.".

Oxford University Press, 2013 (2007). 271 pp. Paperback. Fine clean copy. A "Critical introduction to Finnegans Wake and its genesis. Finn Fordham provides a survey of critical, scholarly, and theoretical approaches to Joyce's iconic masterpiece. He also analyses in detail the compositional development of certain key passages which describe the artist (Shem) and his project; the river-mother (ALP) and her "first kiss;" the Oedipal shooting of the universal father (HCE) by the priestly son (Shaun); and the bewitching and curious daughter (Issy). His analyses demonstrate 'genetic' ways of reading the text which illustrate its immense range and playfulness and how these qualities were generated in composition. As well as opening up the densely detailed textuality of the Wake in all its multiplicity, Fordham argues for a relation between the way the text was formed and key aspects of its thematic content: an uprising of particularity and detail against universality, absolutes, and generality. He shows that the proliferation of individuated textual details overwhelms any unitary concept to the text. And this reflects an idealized and utopian uprising as it overcomes centralizing singularity: Finnegans do wake up. "

Milli Reasurans, 2005. Large tall heavy 4to in wraps as issued. 255 pages, richly illustrated. Tewxt in noth Turkish and English. A fine copy. Heavy item, foreign shipping may be extra, please inquire!