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University of California Press, 1995. Small hardcover, with dustjacket. XIV, 271 pp. Illustrated b/w. Fine copy. Publisher's note: 'Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the limitations of the museum prefigures key themes in postmodern criticism while underscoring the uniqueness of Smithson's own work as an artist, filmmaker, and writer. Gary Shapiro's elegant and incisive study of Smithson's career is the first book to address the full range of the artist's dazzling virtuosity. Ranging from Smithson's best known works such as "Spiral Jetty" and "Partially Buried Woodshed" to his photographs, films, and theoretical readings and writings, Shapiro's masterful book analyzes Smithson's art in relation to the legacy of American art of the 1960s and central philosophical themes in its contemporary reception.'

Hagerup, 1941. 406 pp. Uncut in the original wraps as issued. Clean and very well preserved. Very scarce, especially in such fine state.

Routledge, 1991. Hardcover, w jacket. XIII, 334 pages. Name and only a few feeble pencil notes else a vey good copy. First edition.

Forlaget Rhodos, 1970. 77 sider. Heftet med orig. omslag. Godt eksemplar. Omslag ved Peter Severin og Flemming Adelson. Debut. 1. oplag.

Gyldendal / Samlerens Bogklub, 1979 (1972). 300 sider. Hft. Illustreret med fotografier af Jytte Rex. Navn, små brugsspor, alt i alt et godt eksemplar. Genoptryk af første udgaven og identisk med denne men med et ny forord af Jytte Rex 1979.

Copenhagen: Borgen, 2001. Squarish 4to in wraps as issued. 246 pages, richly illustrated. Text in Danish. Fine copy. "Save Nature: Use FLUXUS". First edition, Danish version, complete with CD "Stonesong".

Laurence King Publishing, 2014. Large ehavy hardcover with dustjacket. In very good condition. 223pp. Illustrated. Clean fine copy.

MIT press, 2012. Large paperback. XX, 270 pp. Fine clean, unread copy. An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

Creation Books, 2001. Tall 8vo in softcover. 246 pages, many bw illustrations. One ink note else clean and well preserved.

New York : Aperture Foundation, 2005. Large heavy 4to. Original red clothed hardcover with mounted plate, decorated endpapers, copiously illustrated with colour photographs, illustrated throughout with intro in English. Light wear to exterior else fine copy. First edition." The intimate ache of the dollhouse and its air of manipulation (whether as consumer object or ventriloquist dummy) has become as identified with pioneering photographer Laurie Simmons as with Ibsen. She's even designed a dollhouse for a toy company. Mostly self-taught, Simmons began working in the 1970s, when color and staged tableaux were first being explored by fine-art photographers, and has since mapped out a world all her own, mostly in haunting miniature. Over the past 25 years, her photographs have conveyed a bittersweet nostalgia for the 1950s, while edgily commenting on consumerism, feminism and other fraught aspects of postwar American culture. The accompanying essay by Kate Linker concentrates on selected series that cover the artist's entire oeuvre--from "Ventriloquism," "Walking Objects" and "Lying Objects" to the 1997 "Self-Portraits" and "Café of the Inner Mind".

Kulturring Østjylland 2011. Stort format. Hardcover. 76 sider, gennemillustreret.

Cologne: DuMont, 1957. Large heavy 8° hardcover with original somwhat worn but protected dustjacket. 423 pages. Text in German. Black and white plates and drawings. Name of previous owner to pastedown and light discoloring to endpapers and edges. Newspaper clippings enclosed. Overall an attractive good to very good copy. First edition, hardcover.

Oslo: Generalkrigskommissariatet, August 1946. 4to i original heftet omslag. (60) sider, alle med illustrationer / tavler i sort hvid. Noget slidt. Originaludgave.

Jonathan Cape, London, 1952. Publishers red hardcover with the original priceclipped dustjacket, topedge red . 175 pages. Clean attractive copy with a protected jacket. First edition thus.

London: Koenig Books 2008. Landscape format in stiff wraps as issued. 138 pages. Illustrated. Fine clean copy. Andrea Geyer?s work Spiral Lands / Chapter 1 was presented at documenta 12. Spiral Lands represents with panoramic landscape photographs Geyer?s view on southwestern North America and focuses on a long lasting fight about social justice in America; the condemnation of the narrative Americans, the fight for their rights and the return of their land. Geyer?s photographs express her desire for justice. Combining the photographs with diary notes, scientific, philosophical or contract texts Geyer interrupts the idyllic seemingly landscapes: "Geyer's Spiral Lands is a work of photographic and textual historiography that investigates the longest struggle for social justice in North America today — the dispossession of lands from American Indians by colonization, governmentality, capitalist development, and flat out force and violence. These claims for spatial justice are deeply temporal — legislation from Europe around the "Doctrine of Discovery" and "the Rights of Conquest" were written in 1493 and law suits initiated by native groups to uphold treaty rights and gain land claims have spanned most of the 20th century to today — and Spiral Lands sculpts a complex understanding of the dynamic of history, place, ownership, capitalism, vision and photography to explore how North America is literally a contested zone that has yet to reconcile its own history and its heroic narratives of conquest as a capitalist myth of origins. Foraging through the archive of colonial proclamations, treaties, manifestos from the American Indian Movement (AIM), anthropological texts, personal histories, corporate reports, travelogues and oral histories, Geyer shows this relationship of land and ownership, of space and history, to be the very condition of the global present rather than a repressed history that can be brought into view by adding it to existing historical narratives. The landscape photographs of contested sites of Native lands challenge the historical scopic regimes of North American landscape photography and counter a photography of a spirit of place (genius loci) with the representation of place as process that is dynamically historical, intensely present and visually uncanny. The heart of this work is a radical beauty of a cultural politics based not on cultural recognition and liberalism, but on social justice" (Jeff Derksen).

Borgen, Vinyl, LP, Album 1987. Near mint / near mint. 

Corte Madera: Gingko Press, 2006. Large oversized very heavy hardcover (29,2 x 26,7 cm). 319 pages. Text in English. Very richly illustrated in color. Fine clean and tight copy.

Oslo: Kunstnernes Hus, 1993. Slim 4to in wraps as issued. 74 pages, in English and Norwegian. Richly illustrated. Fine copy. First edition.

Copenhagen: Københavns Lufthavne, 2001. Small4to. Original boards. 79 pp. Richly illustrated. Fine copy. Copenhagen Airport designed by Vilhelm Lauritzen.

AA - Architectural Association Publications, 2003. 8vo in wraps as issued. 176 pages, illustrated in color. Text in English. Light wear to cover else clean and fine copy.

The Bodley Head, London, 1974 (1971 / 1970). Large Hardcover with dustwrappers. 28,5 x 22 cm. 38 pages. Illustrated in colour. Minor edgewear to jacket else clean and well preserved attractive copy.

Copenhagen, 2001. Oblonged8vo. Original printed wrappers (with graphic design by Gilbert Hansen). Unpaginated. Illustrated throughout in colour. Introductory text in both Danish and English. Fine copy. First edition - Signed by Finn Larsen. - Along 58 km railway stretch with Finn Larsen and his camera. First edition. Chosen as one the 28 most important Danish photo books for the catalogue and exhibition '28 Danish Photographic Books' (2006) in connection with exhibition 'The Open Book' by The Hasselblad Centre (2004).

NY, Ballantin Books Paperback, 1970. 256 pp. Illustrated by Quentin Fiore. Date (1971) noted to top of first page and light wear to cover else well preserved and clean copy. First edition. Classic in modern book design from Quentin Fiore (famous also for his work for 'The Medium is the Massage').

St. Paul, MN: Little Brown Mushroom, 2009. Small stapled 8vo in wraps as issued. (24) pp. Fine copy. 1st edition. The first zine published by Alec Soth's Little Brown Mushroom imprint containing a series of escapist haiku and photo-collages. The worn look is not wear but part of his design. Lovely really!

Les Presses du Reel, 2009. Squarish 8vo in wraps as issed. 318 pages, richly ilustrated with text in French and English. Fine clean copy. 1st edition. - The first monograph on the multiple activities of the artist / musician / performer, with numerous illustrations, texts, and an audio CD. - on the artist, musician, performer, organizer, attempting to disclose the complex articulations between multiples activities and to introduce sound and contextual art problematic. The texts present various approaches and activities of Paul Panhuysen, a general introduction, archives, music installations, paintings, in situ installations, games, Het Apolohuis activities and theoretical positions.The pictures illustrate differents projects of Panhuysen's work (in situ installations, technical plan, exhibitions views), collected in different classifications: sound installation with long fine wire, installation with bird, game, painting... and the graphic design couch with diffent color and form. The audio CD Small Samples, Many Pieces is made up of small samples and a variety of sound art works. It presents sounds produced by musicians, animals and objects, composed music and improvisations, acoustical, amplified and electronic sounds. There are pieces based on calculus, but on intuition as well. In many works image and sound go together. This multitude and variety of impulses are typical for the artist Paul Panhuysen. "A beautiful looking and sounding survey of a key European art and music figure." Alan Licht, The Wire. - Artist, musician, performer, organizer, Paul Panhuysen (1934, Borgharen – 2015), after having studied painting and monumental design at the Jan van Eyck Academy in Maastricht, and art sociology at the University of Utrecht, was, successively, the director of the Fine Arts Academy in Leeuwarden, and a curator and head of education and public relations for the Den Haag City Museum and for the Van Abbe Museum in Eindhoven. In addition, he continued to paint and make collages. In 1965 he founded the artist group “De Bende van de Blauwe Hand.” This group, which was closely related to Fluxus, presented exhibitions, environments and happenings in museums and galleries. Starting in 1965, he presented “situations” meant to involve the audience, and in 1968, he started the Maciunas Quartet, who are still making experimental music as the Maciunas Ensemble. In the early seventies, Panhuysen worked as an advisory artist with urban development teams (o.a. in Zoetermeer, Lunetten, Maaspoort) and developed systematic ordering systems and mathematical series that he has continued to use in his work as an artist. In addition, Panhuysen's work shows a predilection for found objects and the element of chance. To an increasing degree, Panhuysen has been concentrating on sound art, which has come to occupy an important place in his visual art work. He has presented his Long String Installations, which are played in concerts personally and in exhibitions as automats,worldwide in festivals since 1982 . These installations are set-up in indoor or outdoor spaces for anywhere from 1 to 40 days, using specific properties and architectural prospects of the location. Since 1989 Panhuysen developped artworks in which he confronts the audience with the creativity, intelligence and communicational skills of animals, especially of birds. In 1980, Panhuysen founded Het Apollohuis, and since then till 1997, he has been the director of this internationally oriented podium where artists from divergent disciplines did present their work. In 1996 he received the Cultural Award of Noord-Brabant and in1998 he became Companion of the Order of the Dutch Lion. In 2004 Panhuysen received in the category Digital Musics from PrixArs Electronica an Honory Mention for the composition A Magic Square of 5 to Look at / A Magic Square of 5 to Listen to. Edited by Yvan Etienne. Texts by Paul Panhuysen, Jaap Bremer, Yvan Etienne, Michel Giroud, Rahma Khazam, Paul Kuypers, Helga de la Motte-Haber, Rene van Peer, Rolf Sachsse, Louis Ucciani.