Søkeresultat

New York: Simon & Schuster, 2021. Hardcover w jacket. XIII, 443 pp. With illustrations. Very good copy. "A revelatory exploration of fashion through the ages that asks what our clothing reveals about ourselves and our society. Dress codes are as old as clothing itself. For centuries, clothing has been a wearable status symbol; fashion, a weapon in struggles for social change; and dress codes, a way to maintain political control. Merchants who dressed like princes and butchers’ wives wearing gem - encrusted crowns were public enemies in medieval societies structured by social hierarchy and defined by spectacle. In Tudor England, silk, velvet and fur were reserved for the nobility and ballooning pants called “trunk hose” could be considered a menace to good order. The Renaissance era Florentine patriarch Cosimo de Medici captured the power of fashion and dress codes when he remarked, “One can make a gentleman from two yards of red cloth.” Dress codes evolved along with the social and political ideals of the day, but they always reflected struggles for power and status. In the 1700s, South Carolina’s “Negro Act” made it illegal for Black people to dress “above their condition.” In the 1920s, the bobbed hair and form-fitting dresses worn by free-spirited flappers were banned in workplaces throughout the United States and in the 1940s the baggy zoot suits favored by Black and Latino men caused riots in cities from coast to coast. Even in today’s more informal world, dress codes still determine what we wear, when we wear it—and what our clothing means. People lose their jobs for wearing braided hair, long fingernails, large earrings, beards and tattoos or refusing to wear a suit and tie or make-up and high heels. In some cities, wearing sagging pants is a crime. And even when there are no written rules, implicit dress codes still influence opportunities and social mobility. Silicon Valley CEOs wear t-shirts and flip flops, setting the tone for an entire industry: women wearing fashionable dresses or high heels face ridicule in the tech world and some venture capitalists refuse to invest in any company run by someone wearing a suit". In Dress Codes, law professor and cultural critic Richard Thompson Ford presents an insightful and entertaining history of the laws of fashion from the middle ages to the present day, a walk down history’s red carpet to uncover and examine the canons, mores and customs of clothing—rules that we often take for granted. After reading Dress Codes, you’ll never think of fashion as superficial again—and getting dressed will never be the same.

Gestalten, 2020. Large heavy hardcover. 320 pages, richly illustrated. Fine copy.

JRP Ringier / Vancouver Special Series, 2007. 4to hardcover, no jacket as issued. 174 pp. Illustrated. Fine copy. First edition. - "The Rodney Graham Songbook" is a hardcover with a compilation of 39 songs from Graham's CDs and records including "The Bed Bug", "Love Buzz, And Other Short Songs in the Popular Idiom", "Getting it Together in the Country", "Rock is Hard", and "Never Tell a Pal A Hard Luck Story". Graham s songs are transcribed into sheet music with musical notation for piano, guitar tablature and lyrics. Taking the form of a popular songbook, the book features images of the artist, his band and new artwork. In addition the book contains a CD compilation of rare cover songs with two brand new track

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.

Kleinheinrich Buch- und Kunstverlag, Münster, 1991. Broschur. 95 Seiten. OU am Rücken etwas abgekratz sonst gutes Exemplar. Deutsche Erste Auflage.

Englewood Cliffs, N. J. , Prentice-Hall, 1964. Fine clothed hardcover with jacket. 272 pages, illustrated. Very good copy.

Louisina Museum, 2010. Hardcover, with dustjacket. 136 pp. Richly illustrated. Text in English. Fine clean well preserved copy. First edition.

Spector Books, 2022. Large hardcover. 114 pages. Very good clean copy.

Rævens Sorte Bibliotek, 1999. 144 pp. Hft. Illustreret. Pænt eksemplar.

Copenhagen: Gyldendal, 1961. 8vo. Original hardcover med smudsomslag. 131 pp. Rigt illustreret. Classic Danish publication on Scandinavian Design, a very good copy with well preserved and now protected jacket.

London: Pavilion, 1988. Large oversized book in softcover. 96 pp. Illustrated throughout in colour. Very good copy.

Baltimore: Johns Hopkins University Press Large format paperback, 2006. XX, 628 pp. Light edgewear. Clean very good copy.

Barcelona: Actar / Macba, 1999. Small 4to in flexible hardcover as issued. 205 pages, richly illustrated, mainly in color. Text in both French and Catalan. Near fine clean copy with only light shelfwear to corners of cover. From the collection of John Hunov, with his neat bookmark at front innercover. Fine monograph on Hains’ work: hypnagogic photographs, abstract photos made through fluted glass in the late 1940s, under a Surrealist influence to his decollage works and more. Ribbed glass, cinema and letterist poetry, Nouveau Réalisme – the décollage (unpeeling) of torn posters: a turning point but also one “site” among many others – which he regularly revisited. Urban dérives (“drifts”) took him ever closer to Situationism and, after the ads and billboards, he next collected and displayed boarding fences from construction sites (palissades). The first time the term décollage appeared in print was in the Dictionnaire Abrégé du Surréalisme in 1938, it is usually used in the context of nouveau réalisme. The artists involved, Raymond Hains among them, often sought out sites with many layers of posters so that the process of décollage took on an archeological character and was seen as a means of uncovering historical information. They exhibited their ripped poster artworks as aesthetic objects and social documents. From 1949 Hains made work from posters that he tore from the walls of Paris. In 1963 the German artist Wolf Vostell appropriated the term, staging a series of happenings under the title Nein 9 Decollagen which involved television images which he had ‘décollé’ unstuck from the screen and re-presented.

Oxford University Press, 2010. XI, 456 pp. Very good clean copy.

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

London: Serpents Tail, 2014. Publishers hardcover, w jacket. 460 pages. With illustrations. Near fine clean copy.

Publisher: Serpent's Tail, London, 2000. Squarish in softcover, as issued. XXXII, 231 pp. Illustrated. Very good clean copy. "n 1998, the Spice Girls were barred from the No. 1 spot by Run DMC. Rap is back. Rap is a form of music and spoken rhyme which first came to prominence in 1979 through The Sugarhill Gang's chart hit Rapper's Delight. Rap, along with all the other features of hip hop culture, originated in New York's Harlem and the South Bronx. This book takes hip hop culture as its central focus for an investigation of African-American rapping in all its forms. It begins with the music's African roots and ends with the global acceptance of rap as both commercial pop genre and voice of rage, a journey which encompasses West African griots, doo wop groups, jazz singers like Slim Gaillard, soul rappers from Millie Jackson to James Brown, old-school rappers Grandmaster Flash and Afrika Bambaataa, new-school rebels like Roxanne Shante and Run DMC, all the way to Public Enemy, De La Soul, NWA, the pop rap of MC Hammer and Vanilla Ice and the gangstas Tupac Shakur, Notorious BIG, Puff Daddy and Snoop Doggy Dog". 

Forlaget Asterisk, 2019. Leporello, 42 pages, illustrated throughout with b/w photographs. 305 cm when opened. Fine clean copy. 2nd printing - one of only 150 copies. The Danish artist's artists book version of Ed Ruscha's seminal artbook Every Building On The Sunset Strip.

Abrams Books 2017. Oversized large and heavy hardcover w jacket. 144 pages. Profusedly color illustrated. Very good copy. This copy inscribed by the artist. Due to size and weight extra shipping will apply for this item - please inquire before ordering!

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.

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.

Basel: Kunsthalle, 1976. 4to in wraps as issued. 52 pages. Text in both English and German. Without list of works. Light wear to cover, overall a very good copy. First edition. Edition of 800 copies. Catalogue Raisonné (1989), Catalogs no. 14.