Søkeresultat

Horst Dieter Adler, 1991. 8vo hardcover. Around 200 pages, color illustrated throughout. Om intimpiercinger.

Mohanna, 2012. DVD in original box. No 8 of 10 copies. Signed and numbered in hand. Fine copy. Ceremony is a single-channel video projection art work / 5:20 min. loop w/ sound.

New York, NY: New Press, 1997. 8vo in wraps as issued. 328 pages, illustrated. Fine copy with only minor shelfwear. 1. ed.

London: Vermilion Paperback, 1982 (1981). XX, 250 pp. With illustrations. Very good clean copy. First UK edition.

Tokyo: Ueno Royal Museum 2019. Small 4to in original illustrated flexi-boards. 248 pp. Richly color illustrated, finely printed. Text in Japanese with introduction and notes in English. Very good copy. 1st ed.

Milan: Leonardo Art (Bulfinch Press Book, Little Brown & Co. for MoMA) 1994. Large 4to in stiff wraps. 400 pp. Richly illustrated (180 color plates and 110 in b/w). Fine copy, well preserved and attractive. First edition. The large classic monograph: Published on the occasion of the exhibition from the Haags Gemeentemuseum 18 December 1994-30 April 1995, National Gallery of Art, Washington DC 11 June-4 September 1995 and The Museum of Modern Art, New York NY 1 October 1995-23 January 1996. Includes Chronology with a List of Exhibitions. NB: Very heavy item and shipping outside Denhmark will be extra - please inquire before ordering!

Bratislava, 1991. 4to in wraps as issued. (32) pp. Illustrated richly, in bw and color. Text in both Slovakian and English. Fine clean copy. Rare original catalogue on / by Július Koller (1939, Piestany, 2007, Bratislava), Slovak artist, important representative of Slovak conceptual art and neo-avant-garde. Koller founded the UFO gallery Ganku / U.F.O. (1971, 1980) and with Peter Rónai and Milan Adamciak the association Nová szávéstost (1990).

New York: Avon Paperback # 314, 1951 (1926). 194 pages. Some rubbing mainly to spine but a solid and clean copy. First edition thus. With Glossary, Note by the Author and Commentary by George S. Schuyler as issued.

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.

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!

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.".

London: Weidenfeld and Nicolson, 1968. 8vo. Publishers hardcover with protected unclipped jacket. IX, 272 pages. Name to front pastedown else fine clean copy. First edition, 1st printing.

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.

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.

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.

Copenhagen, 1995. 8vo. Original wrappers. 30 pages. Richly illustrated. Complete and well preserved. 1. edition. Very rare item. SUPER ISSUE !! Art-Land International was a thin and glossy zine that is a humorous and serious commentary on the contemporary art scene of the ‘90s. Inc. A great state-of-the-nation time capsule of the 1990s.Included are articles and interviews with artists and an ongoing photography based comic strip called “Art Club”.

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."

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.

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."

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. "

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."

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.

London: Jonathan Cape, 2003. Large tall 8vo in publishers hardcover with unclipped jacket. 255 pages. Fine clean copy.