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Bruxelles Fonds Mercator and London National Portrait Gallery, 2013. 4to hardcover with jacket. 224 pages with 200 photographic plates. Text in French. Light edgewear, else clean very good copy. NB: The photo show the book still in plastic, but the copy is now opened and without the plastic wrapping. Large very heavy book, extra shipping may apply: please inquire before ordering this item!

London & New York: Thames & Hudson, 2001, Hardcover w jacket protected. 304 pages. Illustrated, 280 b/w illustrations. Fine copy. First edition, very attractive copy. "By the end of the 1960s a revolution had taken place in the perception and practice of art in Europe and North America. The cultural, social, and political context of this change reflected the desire for social transformation expressed in clashes with authority, such as the protests against the Vietnam War, that signaled a counterculture's defiance of established values. This book, the first detailed account of developments centered around the conceptual art movement, highlights the main issues underlying visually disparate works dating from the second half of the 1960s through the end of the 1970s. These works questioned the accepted categories of painting and sculpture by embracing a wealth of alternative media and procedures. Traditional two- and three-dimensional representations were supplanted by a variety of linguistic and photographic means, including installations that brought into play the importance of presentation and site. Through close examination of individual works and artists, Anne Rorimer demonstrates the pervading desire to redefine the characteristics of what was once accepted as truly visual in order to dispel earlier assumptions and offer other criteria for seeing. She surveys the most prominent names and movements in the art of the late 1960s and 1970s to form a coherent picture of an era of pioneering art that prefigured many of the themes and concerns of today. Artists whose works are discussed in depth include Robert Ryman, Gerhard Richter, Joseph Kosuth, Lawrence Weiner, Eleanor Antin, John Baldessari, Gilbert and George, Sol LeWitt, Adrian Piper, Bruce Nauman, Vito Acconci, Marcel Broodthaers, Robert Smithson, Daniel Buren, and Michael Asher. Forerunners of the period such as Jasper Johns and Robert Rauschenberg, Andy Warhol, Frank Stella, Piero Manzoni, Joseph Beuys, Allan Kaprow, and Fluxus are also included. "

Louisiana Museum of Modern Art, 2004. 4to. Original boards. 144 pp. Richly illustrated in colour. Text in English. Fine copy. First edition.

University of Minnesota Press, 1998. 8vo. Paperback. XIII, 349 pp. With bw illustrations. Pencil notes in first part of book. Overall a very good copy. First edition, softcover: "An examination of the social and cultural significance of body art (...) The past few years have seen an explosion of interest in body art, in which the artist's body is integral to the work of art. With the revoking of NEA funding for such artists as Karen Finley, Tim Miller, and others, public awareness and media coverage of body-oriented performances have increased. Yet the roots of body art extend to the 1960s and before. In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts. Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on the work of Ana Mendieta. Moving to an examination of the reception of Jackson Pollock's "performative" acts of painting, she argues that Pollock is a pivotal figure between modernism and postmodernism. The book continues with explorations of Vito Acconci and Hannah Wilke, whose practices exemplify a new kind of performance that arose in the late 1960s, one that represents a dramatic shift in the conception of the artistic subject. Jones then surveys the work of a younger generation of artists -- including Laurie Anderson, Orlan, Maureen Connor, Lyle Ashton Harris, Laura Aguilar, and Bob Flanagan -- whose recent work integrates technology and issues of identity to continue to expand the critique begun in earlier body art projects. Embracing an exhilarating mix of methodologies and perspectives (including feminism, queer theory, philosophy, psychoanalysis, and literary theory), this rigorous and elegantexamination of body art provides rich historical insight and essential context that rethinks the parameters of postmodern culture.ect continues to confirm the opinion of many that Jones is the most perceptive and original voice in contemporary art history, theory, and criticism to have emerged in a generation".

North, 1977. 4to. (12) pp. Rigt illustreret. Med indlagt håndskrevet hilsen fra Kasper Heiberg til vennen, fotografen Poul Pedersen.

København: Wilhelm Hansen, 1929. 8vo i originalt heftet omslag. 47 sider. Ej illustreret. Godt eksemplar.  1. (og eneste) oplag. Een af de første (måske den første?) danske bøger om Jazz. Sjælden! / First (and only) edition. Possibly the first Danish book on Jazz - Scarce!

Kunstverein Lippstadt, 2006. Large 8vo in stiff wraps. 34 pages, with color illustrations. Text in both German and English. Near fine. 2006 Catalogue boom from the exhibition, mixed media – wood ash, broken window pieces, charcoal, copper wires, piezo speakers, audio players, speakers, etc. The CD contains a 18 minutes stero mix of the installation.

Orion Books, 2008. Hardcover, w jacket. 471 pages. Fine copy.

New York: Alfred A. Knopf / A Borzoi Book. 1946. Publisher's hardcover boards, no dustjacket, gilt title. 470pp. Only light wear to cover, overall a very good clean copy . First American edition, 1st printing thus. Independent People: An Epic (Icelandic: Sjálfstætt fólk / Danish "FRIE FOLK") is a novel by Nobel laureate Halldór Laxness, originally published in Iceland in two volumes in 1934 and 1935. It deals with the struggle of poor Icelandic farmers in the early 20th century, only freed from debt bondage in the last generation, and surviving on isolated crofts in an inhospitable landscape. One of the greatest Nordic classics and still the most beloved piece of Icelandic literature in the world after the sagas, it is an epic tale about a poor farmer's struggle to achieve independence and freedom and about everything he must sacrifice to be able to pursue his goal to the bitter end.

Kunsthaus Hamburg, 2021. 8vo in clothed wraps as issued. 262pp w colour plates.Text in German, Bengali and English. Fine copy. 1. ed.

Malmö 1975. 4to in wraps as issued. X, 96 pp. Richly illustrated. Text in both Swedish and English. Cover worn, overall a good acceptable copy. John Baldessari, Didier Bay, Bernhard och Hilla Becher, Christian Boltanski, Jacques Charlier, Ger Dekkers, Hans-Peter Feldmann, Fred Forest, Jochen Gerz, Paul-Armand Gette, Joel Glassman, Douglas Huebler, Peter Hutchinson, Nancy Kitchel, Jean le Gac, Barbara och Michael Leisgen, Anthony McCall, Annette Messager, Edward Ruscha, Katharina Sieverding, David Tremlett. Book design by John Melin et al.

Gyldendal / Kunstbogklubben, 2004. Hardcover, med smudsomslag. 463 pp. Rigt illustreret. Flot eksemplar.

University of Chicago Press, 2014. Paperback. 179 pages. With illustrations. Fine clean copy. One of the most important avant-garde movements of postwar Paris was Lettrism, which crucially built an interest in the relationship between writing and image into projects in poetry, painting, and especially cinema. Highly influential, the Lettrists served as a bridge of sorts between the earlier works of the Dadaists and Surrealists and the later Conceptual artists.Off-Screen Cinema is the first monograph in English of the Lettrists. Offering a full portrait of the avant-garde scene of 1950s Paris, it focuses on the film works of key Lettrist figures like Gil J Wolman, Maurice Lemaître, François Dufrêne, and especially the movement’s founder, Isidore Isou, a Romanian immigrant whose “discrepant editing” deliberately uncoupled image and sound. Through Cabañas’s history, we see not only the full scope of the Lettrist project, but also its clear influence on Situationism, the French New Wave, the New Realists, as well as American filmmakers such as Stan Brakhage.

São Paulo, 1994. 4to in wraps as issued. 57 pages, plus adds. Fine clean copy. Goran Petercol, born in Pula in 1949. "Petercol attended the Maritime School and, after graduation, served on ocean-going merchant navy ships. He graduated in Painting from the Academy of Fine Arts in Zagreb, in 1975, after which he spent two years in Ljubo Ivancic's Master Workshop. For years he has worked as an art editor of encyclopaedic and lexicographic publications and, until retirement, as a professor at the Academy of Applied Arts in Rijeka. During the 70s and the beginning of the 80s, Goran Petercol was closely associated with a group of conceptual artists who adopted analytical methods in structuring their works. His exploration of processuality, reach, stylization and various conceptual strategies has been continuous. From early on in his career, he has been treating light as a material. In addition, he uses light and shadow to lay claim to and reactivate a certain territory. He thereby directs the gaze of the viewer to what usually gets eluded – spatial relations, the combination of elements tied to a certain place, as well as memory as an idea of a past event which, according to the artist, is a part of life and art to a greater extent than we might be aware of."

Koenig Books, 2009. 8vo in black wraps as issued. 206 pages, richly illustrated. Text in English. Fine clean copy. First edition. Elke Krystufek, Dorit Margreiter and Franziska & Lois Weinberger. All have developed new works for the Austrian pavilion. Each of these artistic positions deals with a specific theme, and while their art differs greatly, they all share a structural approach, which critically questions the orders determining social aspects of our lives, our culture and politics. Elke Krystufek condenses several themes in her painting installation TABOU TABOO (2009): Polynesia, the mythical place as it was conceived and conveyed in Modern European art, and the issue of a specifically “female gaze”. The title TABOU TABOO is a reference to the film “Tabu” by F. W. Murnau and further to Sigmund Freud’s “Totem und Tabu”. Krystufek replaces the word “Austria” on the outside of the pavilion with the word “Tabu”, and thus attacks the identity of the building. Dorit Margreiter‘s work Pavilion (2009) is a film dealing with the place of its production and its mis-en-scène: the pavilion constructed by Austrian architect Josef Hoffmann, opened 1934 in the Giardini of Venice. Margreiter explores the pavilion as an utopian space of art, forming an architectural sculpture in itself. Pavilion is a grainy black-and-white film with a surreal quality. Its staged rendition at the actual site mirrors the pavilion in its space and in time, it is a projection of itself onto itself. Laubreise (2008/09) by Franziska & Lois Weinberger is an outside piece, an accessible architectural sctructure located between pavilion and canal which houses an object inside. Laubreise as well as other works by F. & L. Weinberger deal with the relationship between “nature” and “culture”; their work is about the subtle „peripheries of perception” of an “invisible nature / spiritual nature” (L. Weinberger). Inside the pavilion an installation gives insight into Weinberger’s work from 1976 until today.

Copenhagen: Stalke Galleri / Brigitte March Galerie, Stuttgart / Espace des Arts, 1988 - 1989. Tall 4to in wraps as issued. 72 pages, richly illustrated b/w. Text in both Danish, French, German and English. Near fine / fine clean copy. 1. ed. Participating artists were Marcel Broodthaers, Joseph Kosuth, Les Levine, William Anastasi, Lawrence Weiner, On Kawara, Yokuta Matsuzawa and Vincenzo Agnetti.

Forlaget Povl Branner, 1947. 144 pp. Ubeskåret i det originale omslag. Meget velbevaret med kun små brugsspor. Dansk første udgave.

Forlaget Rhodos, 1987. 245 sider. Hft.

Gyldendals Bogklub, 2002. 223 pp. Hft. Pænt ubrugt eksemplar.

Copenhagen: Kunstakademiet /& Royal Danish Academy of Fine Arts, 2000. 8vo. Stiff wraps as issued. 213 pages. Texts in English. Illustrated b/w. Some wear to cover, else clean and fine copy. Texts on sculpture by Smithson, Chillida, LeVitt, Judd and many others.

Gyldendal / Samlerens Bogklub, 1996. 197 pp. Hft. Navn, et par enkelte noter i teksten.

Borgen, 1964. 43 pp. Heftet med tråd og med det originale omslag. Bogen fremtræder nærmest som ny. Uopskåret.

Forlaget Politisk Revy, 1998 (1922). 79 sider. Hft. Fint eksemplar.

New York: The Hudson River Museum, 1980. 28x23 in wraps as issued. 192 pages with 185 photos including 30 full-page. Edgeworn copy but clean. 1st ed.

St. Gallen, Kunstmuseum & Goteborgs Konsthal - Kehrer, 2009. 4to in wraps as issued. 120 pages. illustrated, text in English. Near fine / fine copy. 1. ed. "Change of Place is the title of a joint work by New York artists. In interviews, women from diverse backgrounds are asked how they see themselves. The resulting photographs show not only those interviewed, but also the interpreters, subtly shifting the theme of the work to the question of what happens when information is translated from one language into another. Andrea Geyer (*1971) was the prime discovery at documenta XII with her Spiral Lands I. In quietly revealing works made up of both image and text, photographs are combined with historical data, news and fictional travel reports. Sharon Hayes (*1970) explores social realities by searching for historical parallels. She always chooses themes that have inscribed themselves in US history, with traumatic consequences."