Søgningsresultat

Denmark: Silkeborg Museum, 1961 & 1966. 8vo. Original printed illustrated wrappers (autoportrait en l'honneur d'Asger Jorn by Dubuffet). 256 & 84 pp. A fine, clean, complete and very well preserved set. First edition. Fine set of these 2 richly illustrated catalogues of Dubuffet's engravings and lithographs in the Silkeborg collection, Denmark, illustrated in b/w. Text in Danish with Arnaud's catalogue in French at rear. Edited by Noel Arnaud and Asger Jorn, with foreword by Jorn.

Croom Helm, London, 1986. Large 8vo in publishers hardcover with slightly worn but unclipped dustjacket. XXII, 358 pp. Light soiling to edges else clean inside and overall a very good copy from a private collection. First edition. Uncommon.

Biot: Musée National Fernand Léger, s.d.. but around 1980 or later (1950). 4° in stiff white wraps. App. 70 pages with illustrations in black and white. Fine clean copy. Cirque was Leger's master graphic work, originally a compendium of 34 color lithographs and 29 in black- in this facsimile reprint only in black and white. The text is Léger's own in Leger's reproduced handwritten text: "Go to the circus. Nothing is as round as the circus. It is an enormous bowl in which circular forms unroll. Nothing stops, everything is connected, the ring dominates, commands, absorbs" .

Los Angeles County Museum Of Art & Thames and Hudson, 1996. Large tall 4to in wraps. 192 pages, richly illustrated. Handwritten name to titlepage else light edgewear only - overall a very good clean copy. 1. ed. "William S. Burroughs, the Beat iconoclast turned cultural icon, has been practicing a postmodern voodoo alchemy, via his cut-up and fold-in techniques, that accurately reflects our fragmented, discontinuous experience of a universe that is fluid, undetermined, tangential, and absurd. His novels, once banned and condemned, have over the years earned him membership in the American Academy and Institute for Arts and Letters and the title Commandeur de l'Ordre des Arts et des Lettres in France. Now Robert A. Sobieszek, the Los Angeles County Museum of Art's curator of photography, demonstrates how Burroughs's creative practice extends to and permeates most of the arts, how his work has paralleled and in some cases anticipated significant developments in painting, assemblage, music, sculpture, video, and film. Sobieszek discusses and offers illustrations of Burroughs's extensive body of visual art - including his collages, photomontages, sculptural assemblages, shotgunned paintings, and text-image works - as well as the work of artists with whom Burroughs has either collaborated or had an affinity, including Brion Gysin, Keith Haring, Philip Taaffe, and Robert Rauschenberg."

The MIT Press, 2016. 4to in wraps as issued. 274 pages. Richly illustrated. Text in English. Very good clean copy. The Whole Earth Catalog was started by Stewart Brand following his summer 1968 tour of communes across the Southwest with mathematician Lois Jennings. Their Dodge pickup, laden with samples of goods for sale, became known as the Whole Earth Truck Store, and Brand's first Catalog, its cover adorned with a colour photograph of the Earth seen from space, promised 'Access to Tools' and famously asserted that "We are as gods and might as well get good at it." Rather than selling anything directly, he intended it to function as both countercultural toolkit and as a manifesto for alternative lifestyles. He organised it in several sections, most of them rooted in his road trip, including Understanding Whole Systems, Shelter and Land Use, Nomadics, Communication, and Community, each category providing detailed information on how to obtain a vast array of artifacts and merchandise. Influenced by the ideas of Buckminster Fuller, Marshall McLuhan, and cyberneticists Norbert Weiner and Gregory Bateson, Brand arranged the Catalog according to the principles of systems theory, and while it embodied his vision of small-scale technology as a tool for personal liberation and social change, its contents generally eschewed overt politics in favour of do-it-yourself individualism. Brand began operating as a cultural entrepreneur at the Trips Festival, and his interdisciplinary attempt to connect distinct networks and resources in the Whole Earth Catalog used a similarly holistic approach, epitomised by the geodesic domes designed by Lloyd Kahn and others, a Catalog staple that bridged the gap between science and the counterculture. Computers were not often featured (PCs were still commercially unavailable), but Brand already envisioned them as a potentially revolutionary technology, democratising access to information and communication, and his Whole Earth Catalog, with its densely-packed references and peer-reviewed content, anticipated the hyperlinked World Wide Web that followed two decades later. he Whole Earth Catalog was a cultural touchstone of the 1960s and 1970s. The iconic cover image of the Earth viewed from space made it one of the most recognizable books on bookstore shelves. Between 1968 and 1971, almost two million copies of its various editions were sold, and not just to commune-dwellers and hippies. Millions of mainstream readers turned to the Whole Earth Catalog for practical advice and intellectual stimulation, finding everything from a review of Buckminster Fuller to recommendations for juicers. This book offers selections from eighty texts from the nearly 1,000 items of “suggested reading” in the Last Whole Earth Catalog. After an introduction that provides background information on the catalog and its founder, Stewart Brand (interesting fact: Brand got his organizational skills from a stint in the Army), the book presents the texts arranged in nine sections that echo the sections of the Whole Earth Catalog itself. Enlightening juxtapositions abound. For example, “Understanding Whole Systems” maps the holistic terrain with writings by authors from Aldo Leopold to Herbert Simon; “Land Use” features selections from Thoreau's Walden and a report from the United Nations on new energy sources; “Craft” offers excerpts from The Book of Tea and The Illustrated Hassle-Free Make Your Own Clothes Book; “Community” includes Margaret Mead and James Baldwin's odd-couple collaboration, A Rap on Race. Together, these texts offer a sourcebook for the Whole Earth culture of the 1960s and 1970s in all its infinite variety. [publisher's note].

Cologne: Verlag der Buchhandlung Walther König, 2006. 8vo in wraps as issued. 272 pages. With 63 plates. Very good well preserved clean copy. With text by Alexander Alberro, Edit Andras, Ricardo Basbaum, Benjamin H.D. Buchloh, Sabeth Buchman, Thomas Crow, Helmut Draxler, Elizabeth Ferrell, Isabelle Graw, Helen Molesworth, Luiza Nader, Henrik Olesen and Gregor Stemmrich.

Scheidegger & Spiess, 2015. Heavy 4to hardcover. 236 pages, 82 color and 3 b/w illustrations. Text in German. Cover with wear to lower spine else very good copy. 1st edition.

Copenhagen: Arnold Busck, 2016. 4to in original very heavy hardcover. 199 pages, richly illustrated. Binding with a minor dent else very good clean copy. First edition.

Berlin: KW - Institute for Contemporary Art, 2003. 4to in stiff wraps as issued. 303 pages with numerous color illustrations. Text in English. Five pages with a couple of pencil notes, cover with minor signs of use, edges of cover very slightly rubbed. First edition, much sought-after catalogue, containing: Territories - Anselm Franke. Empire everywhere - Rudolf Maresch. Extra-territorial spaces and camps in the "war on terrorism" - An Architektur. Temporary occupation - Sean Snyder. Shanghai links, Hua Xia trip. Zones of indistinction: security, terror and bare life - Bulent Diken and Carsten Bagge Laustsen. Border-syndrome - Stefano Boeri. The politics of verticality - Eyal Weizman. The battle for the hilltops - Rafi Segal and Eyal Weizman. Conflicts and negotiations as spatial practices: a conversation with Ron Pundak by Rafi Segal. Hunger in Palestine: the event that never was by Ariella Azoulay. Wall and tower - Sharon Rotbard. Space, place, and landscape - W.J.T. Mitchell. Model state - Zvi Efrat. Who is where - Eran Schaerf. Scenario data for demographic design: selections from the Blue Key archive. Apartheid cartography: the political anthropology and spatial effects of international diplomacy in Bosnia - David Campbell. Passage barre - Patrick French. Through the actual territories - Stalker. Cain, Abel and architecture - Francesco Careri. Along the Egnatia: a path of displaced memories - Osservatoria Nomade-Stalker. Jerusalem wildlife diary - Amir and Sharon Balaban. Points of suspension - Matthew Buckingham and Joachim Koester. Military operations as urban planning - Philipp Misselwitz and Eyal Weizman. Installing a "new cosmopolitics" : Derrida, the writers, and the cities of asylum - Gene Ray etc.

Torino: Galleria Franco Noero, 2008. In-4. Original stiff wraps as issued. 74 pages, richly illustrated. Text in both Italian and English. Fine copy. First edition - SIGNED IN HAND WITH PENCIL TO INNER BACKCOVER by the artist.

Hannover: Kestner-Gesellschaft, 1981. Square 8vo in wraps as issued. 90 pages, illustrated throughout with photographs. Short text in German. Minor wear to cover else clean and overall a bvery good copy. First edition. Beautiful photobook: "This was the oldest cultivated region in the world, almost unaltered for six thousand years. The Garden of Eden, where time stood still. A land between two rivers, the waters of the Euphrates and the Tigris, which made agriculture possible in the wilderness. In 1980, at the outbreak of war between Iraq and Iran, Ursula Schulz-Dornburg photographed the marsh country in the lower reaches of the Tigris, the amphibious realm of the Ma'dan, one of the most ancient civilisations still existing in the world at that time. A realm of water, sky, horizon and reeds. On small islands in the water, woven out of reeds and set in among the reeds, stand the muhdif, light nomad constructions of which it is hard to say whether they are boats that have come to a temporary halt or houses that are about to cast off. At any moment more reeds can be added, in a living process in which they endure by virtue of their transitory nature. The beauty and skill that they reveal are the direct result of the simplicity and functionality of their woven construction. The enduring existence of the dwelling and its temporary nature are closely bound together in the architecture of the muhdif, as also are absoluteness and provisionality, isolation and openness. These reed structures were engraved as images on old stone stele that are now five thousand years old. In the Sumerian epic of Gilgamesh, one of the most ancient texts in human history, the origins of which go back to about 2100 B.C. and which, like the muhdif, was kept alive for thousands of years, a god, not being able to impart a warning directly to men, addresses it to the house made out of reeds: "Reed-hut, reed-hut! Wall! Wall! / Reed-hut, hearken! Wall, reflect! / Man of Shuruppak, son of Ubar-Tutu, / Tear down [this] house, build a ship! / Give up possessions, seek thou life. / Despise property and keep the soul alive! / Aboard the ship take thou the seed of all living things."

London: Quartet Books, 1984. Hardcover, w jacket. 289 pp. Light wear to jacket. Overall a very good copy. 1st edition.Queens is a novel, written in 1984 by an author under the apparent pseudonym "Pickles," which describes gay life in London. The author was Stephen Pickles, who at the time was working as an editor at Quartet Books, the publisher of the novel, with responsibility for its Encounters series. The novel Queens is an important social history : it is written in a variety of styles: third-person, omniscient narrator, overheard dialogue, and epistolary. In many ways Queens is unclassifiable: it mentions numerous real-life bars, pubs, and cruising spots, as well as other less anecdotally gay parts of London. Heaven, the Coleherne, and The Bell on Pentonville Road are just three of the main gay locations mentioned in the novel. In some regards, due to the absurdist tone of the novel's overall narration it could be considered to be written in mockumentary style. The omniscient narrator appears to have a pessimistic and ultimately unamused opinion of the characters described which contributes greatly to the novel's comedic value. Though the narration is choppy the main focus appears to be that of a specific set of characters that are both overlaid and interlinked in one way or the other. The exact identity of each character requires close observation on the reader's part as most characters are initially introduced under an alias (usually of a female variety) or referred to by the author as what type of "queen" they are. Most of the "queens" mentioned in the novel's exordial phases have their stories elaborated further. Scenes in which their way of conduct and process of thinking is demonstrated in one narrative mode or the other. Some of the "queens" stories feature frequently throughout the story however the only consistent plot line is the epistolary styled narration of a young early twenty something named Ben and his courtship and love affair with an aspiring male model Danny.(...). It was "lambasted by the gay press for its allegedly 'negative' portrayal of London's gay community". Part of the controversy was due to the depiction of characters in the novel. Many are lonely, bored or superficial. The author's own interviews contributed to the controversy, both for his insistence that he needn't present an affirmative picture of gay life in London and also for his unwillingness to publicly come out. The novel has been described as "a funny, and kind of mean, taxonomy, of gay types in London in the Thatcher years." Instead of names, the author often refers to characters by their position in gay life: Clone, Opera Queen, Northern Queen, Leather Queen, City Queen, Rent Boy, Insidious Queen. The author also accepts genderfucking names that gay men use for each other: Doris Mavis, Gloria". - "Anyone who was ‘on the scene’ in the mid 1980s will recognise these (stereo)types, like the leather queen who carries a motorcycle helmet but travels by taxi to The Colerherne, the vicar who justifies visiting gay bars as being an opportunity for pastoral work. One of our members said: I enjoyed Queens in a voyeuristic sort of way and as an historical record of an era. My memories of living in Lambeth predate the time Pickles was writing, being the early 1970s, when my haunts and hunting ground centred on Kings Road and Vauxhall, but also included The Salisbury in St Martins Lane where much of Queens is based. Such a Grand gay meeting place for intellectual, theatre, church, opera, suited and booted Queens in those days, as well as working class lads and 6th Formers on a day trip to London. There was a wider spread of social and economic class than you could find anywhere else in London. Members of Parliament, priests of all denominations and lawyers chatting with builders and soldiers (always lots of soldiers) without any judgement or malice. We were all there for the same reason and it felt safe……but with just a hint of risk."

MIT Press: Wadsworth Atheneum Museum of Art., Cambridge, MA, 2001. Landscape 4to in white wraps with black lettering as issued. 112 pages, with numerous illustrations. Fine clean copy. First edition.

Blank Forms Editions, 2020. 8vo thick heavy paperback. 300 pages. 138 Color and 86 B&W images. Very good copy. Edited by Lawrence Kumpf with Naima Karlsson and Magnus Nygren. Introduction by Lawrence Kumpf and Magnus Nygren. Text by Keith Knox, Rita Knox, Bengt af Klintberg, Iris R. Orton, Åke Holmquist, Pandit Pran Nath, John Esam, Michael Lindfield, Sidsel Paaske, George Trolin, Alan Halkyard, Moki Cherry, Don Cherry, Ben Young, Christer Bothén, Ruba Katrib, and Fumi Okiji. Interviews by Keith Knox and Rita Knox with Don Cherry, Terry Riley, and Steve Roney. Don Cherry and Moki Karlsson met in Sweden in the late '60s. They married and began to perform together, dubbing their mix of communal art, social and environmental activism, children's education and pan-ethnic expression "Organic Music." Their home in Tågarp became a locus of artistic production, attracting free-spirited musicians, poets, actors and artists with the promise of collective life. There, Keith Knox assembled Tågarp Publication Number One to document the collectivistic practices blooming under the Cherrys' guidance. Reproduced here, the text includes interviews with Terry Riley and Cherry, a piece on Pandit Pran Nath, a report on the Bombay Free School and a survey of the esoteric Forest University by Bengt af Klintberg.This book explores Don Cherry's work of the period through additional interviews by Knox, a piece on his Relativity Suite and an essay by Fumi Okiji. Moki Cherry's writings on her workshops are featured alongside full-color reproductions of her tapestries, used as performance environments by Don Cherry's ensembles. Cherry collaborators Bengt Berger and Christer Bothén contribute travelogues from the era.

Gestalten, 2009. In-8. Publishers hardcover, no jacket as issued and complete with CD ("features the 298 source files for each one of the printed patterns") in pouch. Fine clean copy. 2nd printing. "Grid index is a decisive visual dictionary on two-dimensional grids and geometric tilings" .

Forlaget Rhodos, 1997. Folio (meget stort format). Original halvlærred med dekoration. 432 pp. Rigt illustreret i farver. Ydre brugsspor (se foto). Første udgave.

London: Fourth Estate, 1999 (US 1998). Thick very heavy hardcover with dustjacket. XX, 745 pp. Only most minimal wear, a fine clean copy that has been taken well care of. First edition. ""Shakespeare: The Invention of the Human" is the culmination of Harold Bloom's life's work in reading, writing about, and teaching Shakespeare. It is his passionate and convincing analysis of the way in which Shakespeare not merely represented human nature as we know it today, but actually created it: before Shakespeare, there was characterization; after Shakespeare, there was character, men and women with highly individual personalities -- Hamlet, Falstaff, Iago, Cleopatra, Macbeth, Rosalind, and Lear, among them. In making his argument, Bloom leads us through a brilliant and comprehensive reading of every one of Shakespeare's plays. According to a "New York Times" report on Shakespeare last year, "more people are watching him, reading him, and studying him than ever before." "Shakespeare: The Invention of the Human" is a landmark contribution, a book that will be celebrated and read for many years to come. It explains why Shakespeare has remained our most popular playwright for more than four hundred years, and in helping us to understand ourselves through literature, it restores the role of critic to one of central importance to our culture."

Milano: Lybra Immagine, 2004. Squarish 4to in wraps as issued. 256 pages, richly illustrated. Text in Italian. Very good clean copy. 1st ed. "The book chronologically traces the development of the culture of European living styles, from the Middle Ages to the declination of the most recent formal codes, through an iconographic apparatus of scale models that focuses on the permanent values ??of living rooted in the architectural culture of the Old Continent, with particular attention to the developments of the 20th century".

Seattle / Andover: University of Washington for Addison Gallery, 1993. Landscape 4to in wraps as issued (11.25" x 9" inch). 88 pages with essays by Jack Reynolds and Andrea Miller-Keller; Drawings in Progress and Drawings in Completed Exhibition, profusely illustrate in color and black-and-white, many full-page. Fine clean well preserved copy. First edition.

Gyldendal, 2010. 521 sider. Heftet. Pænt eksemplar. 'Lene Adler Petersen, f.1944, udspringer kunstnerisk af 1960'ernes avantgarde og blev kendt i offentligheden i 1969, som kvinden der gik nøgen gennem Børsen. Sammen med partneren Bjørn Nørgaard udfordrede hun gennem aktioner og film de kunstneriske, politiske og sociale autoriteter og institutioner. Ved rødstrømpebevægelsens frembrud i 1970 fik hendes eksperimentelle og politiske tilgang til kunsten en mere specifik feministisk retning. 'Kvindetegnet' er en samlet præsentation af et hovedværk i kunstneren Lene Adler Petersens produktion og overhovedet i den konceptuelle kunst fra 1970´erne: ´Udklip på papir med kvindetegnet´ fra 1974. Værket legemliggør helt centrale aspekter af Lene Adler Petersens æstetik, der balancerer mellem det ekspressive og det refleksive. Det består af ikke mindre end 484 collager i et format lidt større end A5, hver med et udklip og et kvindetegn, hvis tegning ekspressivt, poetisk og humoristisk føjer sig som en kommentar til udklippet. Som et åbent serielt værk kan Kvindetegnet betragtes som et egenartet udtryk for 1970´ernes konceptuelle kunst og centrale filosofiske overvejelser over tegnet i abstrakt forstand, og afspejler samtidig et direkte men langt fra endimensionelt engagement i tidens feministiske bevægelse. Denne dobbelte forankring gør værket til et komplekst og flertydigt udsagn, der poetisk peger ud over sin historiske kontekst. Værket er ledsaget af en introducerende artikel af museumsinspektør og projektforsker ved Statens Museum for Kunst, Birgitte Anderberg' (forlagets beskrivelse). Danish artist Lene Adler Petersen maybe most famous for her part in "The Female Christ" (1969) with husband Bjorn Noergaard where she walked naked with a cross through the Copenhagen Stock Exchange in order to remind society of Christ's visit to the temple (dealings were suspended for the rest of the day) and "Horse Sacrifice" (1970). 'Kvindetegnet' (?) is a main conceptual art work by Lene Adler Petersen originally from 1974 ('Udklip på papir med kvindetegnet'). The present book collects for the first time the complete illustrations.  

Cape Goliard Press Ltd, London, 1967. 50 pages, paperback, a very good copy. This is the First Edition, with the pbk limited to 1500 copies; white pictorial stiff card covers; set in Caslon Old Face type & printed on Glastonbury Antique Laid paper. Minor discoloring to cover else very good clean copy. First edition thus.

China: Peking Foreign Language Press, 1967. 12mo in red vinyl binding as issued (13 x 9cm), pp. VI, 349 pp. Including Mao portrait frontis and Lin Biao (Piao) foreword with facsimile. Title page with red lettering in green frame. Very good clean copy. First Norwegian language edition, printed 1967 (stated) - Including the preface by Lin Biao, removed from copies after 1971.

New York: MoMA, 1961. Square hardcover with original jacket. 154 pp. Illustrated in b/w and colour. Overall very good copy. First edition of the now classic MoMA publication from the the groundbreaking exhibition curated by Peter Selz.

Kleinheinrich, 2014. Gebunden, mit OU. illustriert von Judith M. Kleintjes, aus dem Dänischen übersetzt von Hanns Grössel. 80 Seiten plus Illustrationen in Farbe. Text auf Dänisch und Deutsch. Gut erhalten. Dobbeltsproget smuk udgave af Brev i April.

London: Phaidon Inc., 2011 (2002). Large very heavy 4to in wraps as issued. 304 pages, richly illustrated. Text in English. Very good / fine clean copy. Comprehensive illustrated overview of Conceptual Art, being a volume in the Themes and Movements series; Pre-History (Duchamp, Cage, Rauschenberg, Klein, Paik, etc), Instruction/Performance/Documentation, Process/System/Series, Word and Sign, Politics and Ideology, and more; Ruscha, Kaprow, Kawara, Lewitt, Baldessari, George Brecht, Yoko Ono, Fulton, Weiner, and many more; copiously illustrated in colour and b&w. PLEASE NOTE: HEAVY BOOK WILL INCUR EXTRA SHIPPING DEPENDING ON DESTINATION.