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Denmark: Panorama Herlev, s.d. (1936) maybe early 1970's. 12mo in original slightly soiled wraps as issued. (31) illustrations, no text. Complete copy. Minor edgewear else overall very good copy of this extremely rare edition. Idylle printanière (Spring Romance) is probably Feodor Rojankovski’s best-known erotic production: A wordless erotic novel - strip novel one might call it. Here Rojan has done a wonderful job of recreating an erotic encounter in 1930s Paris, from the first glance in the metro station, to the entwinement in the back seat of a taxi, to the undressing and mutual exploration in the hotel room.

Vydavatelstvo ROH Práce, Praha, 1956. 8vo. 427 pp. Illustrated. Excellent and unique copy bound in a very fine, elaborate tooled and gilt decoration showing a city gate. Topedge gilt, endpapers marbled. Binding is not signed but probably a czech communist era binding made as a personal gift to an important member of the party. With matching slipcase. 1st edition. - Antonín Zápotocký (1884 - 1957) Czech communist politician and statesman who served as the prime minister of Czechoslovakia from 1948 to 1953 and the president of Czechoslovakia from 1953 to 1957. Born in Zákolany, Kingdom of Bohemia, Cisleithania (then in Austria-Hungary, now in the Czech Republic). His father was Ladislav Zápotocký, one of the founders of the Czech Social Democratic Party (CSSD), together with Josef Boleslav Pecka-Strahovský and Josef Hybeš. He was a delegate of the Left Wing of the CSSD to the Second Comintern Congress, held in Petersburg, 19 July – 7 August 1920. Together with Bohumír Šmeral, he co-founded the Communist Party of Czechoslovakia (KSC) when it broke away from the CSSD in 1921. He was General Secretary of the KSC from 1922 to 1925. In 1940, he was sent to Sachsenhausen concentration camp. He was released in 1945. Zápotocký stayed in office until his death in Prague in 1957. He was also second Czechoslovakia president to die in office. His body was cremated at Strašnice Crematorium and interred. Zápotocký penned several novels depicting working class heroes, two of which were made into films - Red Glow Over Kladno (Rudá záre nad Kladnem) and New Warriors Will Rise (Vstanou noví bojovníci).

Mousse Mag, 2010. Large, folded as issued (app. 62 x 87 cm). Very good copy. 1. ed.

London: Phaidon Press Limited, 2003. Large oversized very heavy hardcover w protected jacket. 520 pages, with numerous finely printed illustrations. Includes index. First edition. Attractive copy. " This big and beautiful book presents a comprehensive survey of the work of one of Japan's greatest and most influential artists, together with a collection of essays that focus on a key aspects of the master's career. The book opens with an introductory essay by Gian Carlo Calza presenting an overview of the changing world into which Hokusai was born and through which he lived. This is followed by a series of essays, composed by distinguished Western and Japanese scholars, that present new research on a range of crucial areas of interest in Hokusai studies. These form a context for the core of the book, which embodies a retrospective of Hokusai's entire career, divided into seven chapters. Each chapter provides a succinct account of a phase in Hokusai's life, followed by a series of the finest and most representative works of that period. Great care has been taken throughout to choose for reproduction the best-preserved original prints that reveal Hokusai's mastery of line and colour to full advantage. This magnificent pictorial survey of Hokusai's prints, paintings and drawings is the first publication in English to make such a rich selection widely available, and to demonstrate the extraordinary range and quality of Hokusai's achievement. The final component of the book is a detailed scholarly commentary on each illustration that provides not only the necessary technical information but also a revealing analysis of style, color, composition and motif." Due to size and weight extra shipping will apply for this item - please inquire before ordering!

Published by MIT Press in the Writing Arts Series / An October Book, 2008. heavy 4to in publishers hardcover with fine protected dustjacket. xviii [2], 2-217 pp. Richly illustrated. Fine clean copy. First edition, 1st printing. Fine, handsome introduction to the works and philosophies of Mel Bochner via interviews between him and, in order, John Coplans, Frederic Valabreque, Joan Simon and James Meyer. Mel Bochner (born 1940) is an American conceptual artist. "As Richard Kalina wrote in Art in America in 1996, Bochner was one of the earliest proponents, along with Joseph Kosuth and Bruce Nauman, of photo-documentation work in which the artist "created not so much a sculpture as a two-dimensional work about sculpture." His 1966 show at the School of Visual Arts, "Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art", is regarded as a seminal show in the conceptual art movement. Bochner photocopied his friends' working drawings, including a $3,051.16 fabricator's bill from Donald Judd. He collected the copies in four black binders and displayed them on four pedestals. Bochner began making paintings in the late 1970s, and his paintings range from extremely colorful works containing words to works more clearly connected to the conceptual art he pioneered".

Forlaget Rosinante, 2017 til 2018. Indbundet i tre hardcoverbind med omslag. Omkring 1700 sider i alt. Pænt og rent, velbevaret sæt.

Rotterdam: NAi Publishers, 2001. Oblong heavy 4to in hardcover, with jacket. 236, 4 pp. With many photographs and plans. Introduction by Rafael Moneo. Very good clean copy.

P. Horay (Paris), Achevé d'imprimer le 20 octobre 1969 sur les presses de l'imprimerie Aldo Garzanti à Milan. Folio hardcover in original slipcase 28 x 37 cm. Illustrated in black and white and in colour throughout. Text in French. Wear to corners of binding (see photos) else a clean and overall very good copy. Première édition française - Exemplaire en bon état / First edition thus (French). Shipping outside Denmark require extra shipping please inquire before ordering!

Seventeen Magazine / Triangle Publications Inc., New York and Philadelphia 1953. Large magazine format in original wrappers. 208 pages. Complete magazine. Wear to spine and edges of cover mainly - else clean and overall well preserved. A rare original vintage Seventeen Magazine issue, with an example of Warhol's outsstanding commissioned magazine work. Seventeen was the first succesful magazine exclusively for teenage girls. Art Kane, who was a former student of Alexey Brodovitch, was the art editor at Seventeen magazine when Warhol was appointed. Warhol's illustrations for Seventeen are among the most creative and personal of his commercial work. "In 1944, Impressionist art collector and philanthropist Walter Annenberg, who would head a large media empire that included newspapers and radio and television stations in the 1950s, hired Helen Valentine, later an advertising manager at Mademoiselle, to create a teenage-only magazine. Seventeen was born. The idea that teenage girls were a distinct segment of the population primed for targeted marketing messages was relatively new at the time , but because both men had a deep understanding of the youth publishing market, the magazine's monthly circulation increased from 400,000 to a million by the end of its first year. Warhol’s collaboration with Seventeen lasted from 1953 until 1961. Art Kane was art director in the first half of the 1950s and Marvin Israel replaced him in 1955. Kane and Israel had a talent for innovatively mixing illustration and photography and Warhol learned a great deal from both" (G. Maffei). This issue includes his very first work for Seventeen, an illustration for Rossa Williamson’s story “When the Heart in Tender” (May 1953) for which he drew, in blotted-line and gray wash retouching, an introspective double portrait - very different in style from his previous commercial work.

Boston / Leiden: Brill, 2022. Original publishers hardcover. XVII, 447 pp. With illustrations. Fine clean, unread copy. First edition - from the series Textet: Studies in Comparative Literature, # 98. - "A Poetic History of the Oceans provides the reader with a stunning overview of how writers, sailors, painters, scientists, historians, and philosophers from across time and space have poetically envisioned the oceans and depicted human entanglements with the sea." What is the ocean’s role in human and planetary history? How have writers, sailors, painters, scientists, historians, and philosophers from across time and space poetically envisioned the oceans and depicted human entanglements with the sea? In order to answer these questions, Søren Frank covers an impressive range of material in A Poetic History of the Oceans: Greek, Roman and Biblical texts, an Icelandic Saga, Shakespearean drama, Jens Munk’s logbook, 19th century-writers such as James Fenimore Cooper, Herman Melville, Jules Michelet, Victor Hugo, Jules Verne, Jonas Lie, and Joseph Conrad as well as their 20th and 21st century-heirs like J. G. Ballard, Jens Bjørneboe, and Siri Ranva Hjelm Jacobsen.A Poetic History of the Oceans promotes what Frank labels an amphibian comparative literature and mobilises recent theoretical concepts and methodological developments in Blue Humanities, Blue Ecology, and New Materialism to shed new light on well-known texts and introduce readers to important, but lesser-known Scandinavian literary engagements with the sea.

Borgen, 1982 til 1983. 2 originale hæftede omslag. Illustreret af bl.a. Dorte Dahlin. Omslag, som oftest, noget slidte. Rent og alt i alt et godt sæt. Uren Poesi og Beskidte Tanker. Første udgave. 1ste oplag.

Denmark: Published by Mikael Modig, 2013. Large hardcover in original box. Well preserved, DVD's looks unplayed. First edition. Jeffrey Wright, Benicio Del Toro, Claire Forlani, David Bowie, Dennis Hopper, Gary Oldman, Christopher Walken, Willem Dafoe, Javier Bardem, Olivier Martinez, Johnny Depp Region 2: Dolby Digital 2.0 - Engelsk, Fransk, Spansk. Undertekster: Dansk, Svensk, Norsk, Finsk.

Berlin / Leipzig: Verlag Otto Beyer, 1936. Large magazine format. Some chafing to cover, minor wear and tears mainly to spine and backcover but solid and overall very good. 72 pages. Complete magazine. Rare original issue of the legendary periodical, which in the first years of publication like no other stood for the influence of the Bauhaus in magazine design. Here three years into the Nazi regime, the stunning birds eye perspective cover by Arpke displays a time typical mix of fascination with industrial modernity, smartly dressed blond women and German nationalism. ‘Between 1929 and 1943, an outstanding new lifestyle magazine called Die Neue Linie (“The New Line”) was published by Beyer Press in Leipzig. No other publication in this period was so consistent in bringing avant-garde typographic ideas to a mass audience, as leading graphic designers from the Bauhaus, including László Moholy-Nagy, Umbo and Herbert Bayer, steered the look of the magazine, whose contents combined fashion, literature, graphic design and art. Unembellished fonts, dynamic diagonals and dramatic use of photomontage were key to the journal’s striking appearance. Its authors included Walter Gropius, Aldous Huxley, Gottfried Benn and Thomas Mann; even the advertising pages, designed by Bauhaus veterans Herbert Bayer and Kurt Kranz, were always attractively composed. Despite widespread media conformity during the Nazi era, strangely Die Neue Linie was largely spared the regime’s sanctions." ( Patrick Rossler).

Copenhagen: Victor B. Andersen, 1996. 8vo in stiff wraps as issued. 255 pages, finely illustrated. Texts by Annesofie Becker, Willie Flindt, Arno Victor Nielsen, Dieter Bachmann and Martin Kippenberger in both Danish and English. Surface marks to cover (see photos) else fine copy. First edition, 1st printing. Book design by Michael Jensen. Scarce!

Düsseldorf: ECON; 1972. 4to in wraps as issued. 207 pages, illustrated with many black and white photographs by Ursula Schulz-Dornburg. Texts in German. Minor wear to cover, old price written in ink to inner backcover else clean. Overall a very good well preserved copy. 1. edition. In the foreword to the newly published early series Huts, Temples, Castles (Mack) it is told that in 1969, when Ursula Schulz-Dornburg moved to Düsseldorf with her two young children, she discovered Jongensland the other side of the border from Germany’s strictly regulated playgrounds. She was very fascinated by the improvised buildings where her children would play, she made extensive photographs capturing them being constructed, used, demolished, and reshaped - she recognized a genre of vernacular construction with its own conventions and inno­vations, one which illuminates the role of imagination in defining a building’s identity and purpose. In this 1972 book Ursula Schulz-Dornburg is travelling to various places in Germany, in Holland, UK and Denmark to capture children's buildings (Byggelejepladser / construction playgrounds). Denmark was a pioneering country to have some of the first recognized construction playgrounds. The first established during World War II, 1943, in Emdrup - Keldsøvej. The playground was designed by architect Dan Fink, together with the famous garden architect C. Th. Sørensen. Here, the children were able to build houses from recycled materials, scrap among other things. This idea spread to the rest of the world in the following years, but it was not until 1947 that additional construction or "junk playgrounds" were opened in Denmark. In 1965, there were 11 officially recognized junk playgrounds distributed across Denmark. In the appendix of "Abenteuerspielplätze" there is a number of photos from such Danish playgrounds.

Los Angeles: Museum of Contemporary Art, 2004. Large 4to hardcover, with well preserved dustjacket. 250 pp. Richly illustrated. Text in English. A well preserved fine and clean copy. The first comprehensive retrospective of Robert Smithson's oeuvre - hardcover version. With contributions by Alexander Alberro, Suzaan Boettger, Cornelia Butler, Thomas Crow, Mark Linder, Ann Reynolds, Jennifer L. Roberts, Moira Roth, Richard Sieburth, Robert A. Sobieszek, and Eugenie Tsai. First edition.

Copenhagen: L.A. Jørgensens Forlag, 1875. 12mo . Bound in very fine turn of the century blue half calf with raised bands and gilt title wity fine handpainted floral sidepaper, blue edges and contrasting blue flowers. 405 pages. Some wear to margins of titlepage (see photos), contemporary handwritten name to free endpaper and some brownspotting, mainlay to first and last pages. Overall a very good copy. Rare 1st Danish printing of one of the most defining works of modern european literature. Considered scandalous at the time of publication and much misunderstood by contemporary critics. In a Danish context only J. P. Jacobsen to some extent could learn narrating tecniques, as he used it for his novels Marie Grubbe and not least Niels Lyhne. Very attractive copy in fine binding.

Comunidad Autónoma de Madrid, 2007. Large and VERY HEAVY glossy hardcover with decoration as issued. 782 pages, very richly illustrated in and color (mainly). Text in Spanish with English translation. Discoloring to edges else very good copy. Due to weight this book may require extra postage - please inquire before ordering this item! First edition. "La Movida, the post-Franco countercultural movement, was “somewhere between party scene, artistic school and heedless free-for-all,” wrote Andrew Dickson. In 1980, the Ramones played to worshipping crowds in Madrid’s bullring. Andy Warhol came to hang out. Rolling Stone magazine dispatched a correspondent to check out what was happening, and printed his wide-eyed report under the headline “Youth reigns in Spain”. The earthquake was felt across Spanish music, fashion, art, photography and film. This extensive publication is a fantastic tribute to the artists who were part of what we know today as "La Movida". With their vitalistic and uninhibited attitude and with their talent and creativity, they revitalized the Spanish artistic and cultural scene of the 1980s. "La Movida Madrileña" (English: The Madrilenian Scene), also known as La Movida, was a countercultural movement that took place mainly in Madrid during the Spanish transition to democracy after the death of dictator Francisco Franco in 1975. The movement coincided with beginning economic growth in Spain and a widespread desire for the development of a post-Francoist identity. La Movida Madrileña featured a rise in punk rock and synth-pop music, an openness regarding sexual expression and drug usage, and the emergence of new dialects such as cheli. This hedonistic cultural wave started in Madrid before appearing in other Spanish cities such as Barcelona, Bilbao and Vigo. La Movida Madrileña's central component was an aesthetic influenced by punk rock and synth-pop music, as well as visual schools such as dada and futurism.[1] The aesthetic permeated into the city's street fashion, photography, cartoons, and murals, manifesting itself in bright colours, voluminous hair, unconventional and revealing clothing, and heavy makeup use among both genders. In addition to these artistic representations, La Movida Madrileña also effected an emergent LGBTQ+ community, illicit drug use, and the use of the cheli dialect. Although some people involved with the movement testified to a lack of a unified political ideology, many elements of the movement were antifascist and had anarchist leanings. Outside Spain the most famous of artist involved in the happenings of this period is Pedro Almodóvar.

[New York]. Foundation 20 21, published 2005. 4to cardboard box complete with 31 photographs printed on card stock, a poster, a pamphlet, a card with the colophon, an index sheet with a caption for each work. Included is the original elastic band. The box has a closed tear (see photos) else this copy is in very condition. First edition thus. - "Thirty-two tritone images on heavy paper are housed in a nondescript, cardboard box. When you open the box you enter the world of early '60s Polke. The fascinating photos, which are arguably the worst of the snapshot variety and are all black-and-white experimentalism, still carry the excitement and energy of the artist at a pivotal time in his career. There are four consecutive images of Mariette, some more overexposed than others, but with no notable variation. Polke was fascinated by the infinite possibilities in the making of the photograph, whether it was through chemical experimentation, creasing or otherwise unpacking and exposing the codes and structures of image making. These photos embody youth (Mariette and Sigmar nude with flowers on their bodies), a period of growing success for Polke (Mariette holding a huge handful of bills) and an unrestrained society.The photographs span five years of Polke's career, and even in the constraints of a cardboard box Polke refuses to be categorized. His irreverent photography exudes spontaneity. Mariette Althaus's essay reminisces on these photographs as an experimental period when convention was consciously spurned". Please note that the discoloration (yellowing) in the photos is intentional and part of the work. Also, creases or bent corners are part of the original photograph but not the print. Each print is in fine condition and overall a very good copy.

Oslo, Norway, and Stockholm, Sweden: National Museum of Contemporary Art and Moderna Museet, 1999. 4to in softcover as issued. 303 pages. Features text contributions by Per BJ Boym, Anette Osterby, Tim Martin, Vibeke Petersen, and Stian Grogaard. Text in English throughout. Includes numerous color and some black and white illustrations and a checklist. Some minor edgewear else clean and overall a very good tight copy. 1st edition.

Copenhagen: Rhodos Forlag, 1974. 4°. Hardcover, med omslag (designet af Michael Malling). 232 pp. Rigt illustreret. Omslag med lidt brugsspor men alligevel et særdeles pænt eksemplar. 1. oplag, nummereret eksemplar No. 639 / First edition, numbered copy # 639. Very good well preserved copy.

London: Michael Joseph, 1967.Publishers hardcover with worn and repaired but not price clipped jacket that shows the original 25/- net price. Wrappers are now protected. The boards are rubbed at corners but sound and solid. Inside the book is clean throughout. In all a very good copy. First UK edition, Rosemary's Baby became the topbest-selling horror novel of the 1960s, selling over four million copies. The high popularity of the novel was a catalyst for a "horror boom", and horror fiction achieved enormous commercial success in its wake. It has been stated that "Rosemary's Baby is one of the most perfectly crafted thrillers ever written". In 1968, the novel was adapted as a film of the same name, starring Mia Farrow, with John Cassavetes as Guy. Ruth Gordon, who played Minnie Castevet, won an Academy Award for Best Supporting Actress. Roman Polanski, who wrote and directed the film, was nominated for Best Writing, Screenplay Based on Material from Another Medium. The novel by Ira Levin is not exactly a feminist work of art, but more a chilling exploration of patriarchal control and its impact on a woman's bodily autonomy. Rosemary's passivity and her inability to recognize or challenge the patriarchal forces at play contribute to the sense of dread and helplessness that permeates the narrative. The novel's bleakness and terror are, in part, due to the absence of a feminist perspective that could offer Rosemary a path to resistance or empowerment.

Queens Museum of Art, New York, New York, 1999. French-fold covers. Some light wear and handling to covers, otherwise clean and bright. Binding tight and text clean. Overall a very good and clean copy of this title. First edition. "Global Conceptualism examines key moments when artists in various locales around the world began to create conceptual art as a means to question the hegemony of the object over ideas in art, critique the way art is institutionalized both in museums and in modern economies, and find a new role for art and the artist in society by involving art in social and political protest. The exhibition contained over 240 works by more than 135 artists, Global Conceptualism features photographs, documentation, films, videos, postcards, posters, drawings, as well as paintings, mixed media objects, and installations. The show was marked by the regional perspectives and careful discrimination of its team of eleven international curators. The exhibition was organized in two chronological sections (1950s through approximately 1973 and 1973 through the ’80s) and then arranged by geographical region (Japan, Western Europe, Eastern Europe, Latin America, North America, Australia and New Zealand, Soviet Union, Africa, South Korea, and Mainland China, Taiwan, and Hong Kong) with the pace and progress of local historical events respected, when addressing ideas generated by the art. - The 280-page exhibition catalogue includes essays by cultural historian Stephen Bann, art critic Apinan Poshynanda and regional curators:Chiba Shigeo and Reiko Tomii (Japan), Claude Gintz (Western Europe), László Beke (Eastern Europe), Mari Carmen Ramírez (Latin America), Peter Wollen (North America), Terry Smith (Australia and New Zealand), Okwui Enwezor (Africa), Margarita Tupitsyn (Russia), Sung Wan-kyung (South Korea), and Gao Minglu (Mainland China, Taiwan, and Hong Kong). Includes watershed events of social and political protest-Budapest (1956), Paris and Prague (1968), the June resistance in Seoul (1987), the events of Tiananmen Square (1989), and the chaos leading up to the first elections in South Africa (1994). During these and other events conceptual artists brought art and life closer together: Global Conceptualism shows artists cleaning the streets (Hi Red Center, Japan), staging an impromptu exhibition in a courtroom (Akasegawa Genpei, Japan), reporting on life from a phone booth (Nomura Hitoshi, Japan), declaring Bratislava and all its inhabitants a work of art (Happsoc, Slovenia), placing money boxes to collect funds for political martyrs on the streets of Budapest (Miklós Erdély, Hungary), wandering Europe’s parks carrying art on a stick (André Cadere), asking street directions from strangers (Stanley Brouwn, Netherlands), opening an empty gallery space to the public (Yves Klein, France), placing fictional news reports in newspapers (Eduardo Costa, Argentina), writing chalk circles around people on public sidewalks and declaring them works of art (Alberto Greco, Argentina), joining every political party in South Africa at once (Kendell Geers), creating detailed blueprints to organize mass demonstrations and funeral marches (Choi Byung-soo, South Korea), and even firing two gunshots at an exhibition in Beijing (Xiao Lu and Tang Song). The fascinating work of artist collectives is a secondary theme of Global Conceptualism: BikyÇtÇ (Japan), Grup de Treball (Spain), Happsoc (Hungary), Gorgona Group (Yugoslavia), Rosario Group/Tucumán Arde collective (Argentina), Trans Art (Australia), Collective Actions Group (Russia), Laboratoire Agit-Art (Dakar), Min Joong collectives, Labor Newsreel group, Space Time Group and Reality & Utterance (all South Korea), and Xiamen Dada group (Mainland China) are all represented. Finally, conceptualist art often focuses on art itself, and Global Conceptualism finds itself revisiting several famous exhibitions, often protests, or catalysts to protest, among them the Tone Prize Exhibition (Japan, 1964), Seth Siegelaub’s Xeroxbook show (New York, 1968), the Salon de Mai (Paris, 1968), and Art in China/Avant-Garde (Beijing, 1989). In his catalog essay Western European section curator Claude Gintz explores the origins of European conceptualist art in the particular strategies of Situationism in France in the 1950s, focusing on an imageless Lettrist film by Guy Debord, Yves Klein’s opening at an empty gallery, and Daniel Buren papering Paris with striped panels, as well as Stanley Brouwn’s street pieces and Marcel Broodthaers’ anti-museum objects. Also noted are other artistic landmarks of European conceptualism ranging from Jan Dibbets’s photographs, to Mario Merz’s neon word installations, Alighiero e Boetti’s book classifying the rivers of the world, Hanne Darboven’s file books and films marking time, Art & Language’s conceptual works, Victor Burgin’s theories, and Catalonian Grup de Treball’s collaged criticisms of the Franco regime. In Eastern Europe, contends section curator László Beke, the Marxist-Leninist theory of socialist realism remained predominant and all avant-garde tendencies were classified as “alien to socialist ideology.” As a strategy for evading authority, conceptual art in Eastern Europe also evolved into something more flexible and elastic, ironic, humorous, nonprofessional and social than in the West. Also, the response of Communist parties differed from state to state, and the degree of control or censorship lead to local characteristics in manifestations of conceptual art. The section touches upon many centers: Slovakia’s Július Koller as well as the collective Happsoc’s happenings, Gyula Pauer and Endre Tót from the “heroic period” of Hungarian conceptualism, Robert Rehfeldt’s East German mail art, and Ana Lupas’s staging a display of a town’s laundry on a hillside in Transylvania, among others. Latin American section curator Mari Carmen Ramírez asserts that the nonhegemonic response of Latin American art to modernism resulted in an inversion of tenets of European modernism, resulting in an early emergence of conceptualism. Latin American conceptualism thus is more ideological (about public space rather than art institutions), has a conflicted relation to the idea of “dematerialization” (involving even the “recovery” of the object in mass-produced form), uses information theory to examine meaning in mass media culture, and always seeks a broad audience. Three social factors created local contexts for conceptualism in Latin America: the failure of expectations created by post-war desarrollismo (developmentalism), the simultaneous emergence of military regimes, and a major shift in the understanding of the role of the avant-garde in the Latin American context. Featured here are examples of Hélio Oiticica’s “new objectivity,” Lygia Clark’s provocative body art, and Artur Barrio’s street actions, from Brazil, the arte de los medios movement which included Eduardo Costa, Roberto Jacoby, and Raúl Escari, the protest art created in connection to the Tucumán Arde collective, Alberto Greco’s street actions, and Lilliana Porter’s object-oriented pieces from Argentina, among others. Conceptual art in America and Canada, argues North American curator Peter Wollen, represented a critical shift in art, dethroning painting and sculpture in art’s hierarchy. American conceptualism, fueled by protest surrounding America’s involvement in Vietnam, quickly spread beyond the center, to questioning all aspects of establishment life, including a critique of the commodification of art. In New York, the movement coalesced with “phenomenal speed,” starting with Joseph Kosuth’s first statements on conceptualism in 1967, until 1970, by which time critical essays on conceptualism were widespread. Modularity and seriality were its methodologies as it shifted attention from the object to the idea in a work of art. In addition to Kosuth’s statements, Sol LeWitt’s sentences and documentation of Seth Seigelaub’s Xeroxbook show as well as John Baldessari’s cremation of his paintings are presented. Christine Kozlov, Adrian Piper, Mary Kelly, Matha Rosler, Yoko Ono, and Theresa Hak Kyung Cha are also represented. Canadians Joyce Wieland, Michael Snow, Carl Condé and Karl Beveridge, and Vincent Trasov (Mr. Peanut) represent conceptualism north of the U.S. border. Australian and New Zealand conceptualism, argues section curator Terry Smith, took its form from artists from the continent working in New York and London who were striving to define an art practice distinctive for travelers between the peripheries and the centers of cultural power. “Much art of this period came out of a suitcase, or could be made on the spot by people in transit.” Focusing on conceptual art as a project which first created objects which threw perception into doubt, Smith focuses on Ian Burn, Mel Ramsden, Barrie Bates (Billy Apple), Mike Parr, Peter Kennedy, and Gordon Bennett. By the 1960s in the Soviet Union, alternative painting had developed which challenged the hegemonic official social realism style. Early conceptualists went even further, states Russian section curator Margarita Tupitsyn, by denying painting its privileged status and by deconstructing the visual canons and ideological content of the Soviet cultural establishment. Ilya Kabakov showed his distrust of the visual early, in panels filled with writings from communal life, while Komar and Melamid set out to violate the texts of Soviet life by pulverizing a copy of Pravda and by re-presenting official documents of Soviet life. The Collective Actions group, Irina Nakhova’s delirious Room, and Boris Mikhailov’s everyday photography of Soviet city- and landscapes are also presented. African section curator Okwui Enwezor searches for the distinctive quality of African conceptualist art in the African tradition where the art object, never an end in itself, was displaced in a final performance or nonvisual context, where the artwork functioned in a fluid system of relationships with artist and audience. While there never was ‘anything that can be definitively declared a conceptual ‘movement” in Africa, Enwezor nonetheless explores the complex relations between older African philosophical systems and the practice of a select group of contemporary artists. The Laboratoire Agit-Art’s happenings, Frédéric Bruly Bouabré’s investigations into oral history and language, and three artists who used conceptualism to challenge apartheid in South Africa -Willem Boshoff, whose micro-writing reduced meaning to absurdity, and Malcolm Payne, and Kendell GeersCare surveyed. While noting that conceptualist practice did not become defined in South Korea, section curator Sung Wan-kyung nonetheless explores conceptualist tendencies in the work of diverse artists since the 1960s. The performance art of Space Time Group artists Kim Yong-min, in which he simply mopped a floor at an exhibition, and Sung Neung-kyung, who removed print from and displayed the mutilated remains of newspapers, in the 1970s are studied. The Min Joong or People’s Artists movement of the 1980s is the focus of the South Korean section, with works by several Min Joong artists including Kim Yong-tae, who assembled an installation of found photographs from photo salons near US military bases, Park Bul-dong, who created photo-collages of fictional political candidates, Kim Dong-won and his film documentary of the demolition of the Sanggyedong section of Seoul as part of a beautification program leading up the Olympics, as well as his documentaries created with the Labor Newsreel group, and Choi Byung-soo’s detailed blueprints created to organize demonstrations and even funerals during the days of the June Resistance and July-August labor struggle of 1987. Curator Gao Minglu distinguishes between local manifestations of conceptual art in Mainland China, Taiwan, and Hong Kong, each locale having a different trajectory. In Taiwan, the postwar years of official censorship lead to an alienated and individualist emphasis in conceptualism. Huang Huacheng of the Language Beyond Painting Society and his installation of lowly objects, as well as the headless photographs of Chang Chaotang are highlighted. Danny Ning TsunYung’s performance and dance work in the Zuni Icosahedron collective characterizes Hong Kong conceptualism. The ’85 Movement from 1985 to 1989 is the predominant focus of the mainland China section with language-based work by Wenda Gu, Wu Shan Zhuan, and Xu Bing, anti-art work by Xiamen Dada group artists like Huang Yong Ping, who made a painting by gathering dust, and performances around the China/Avant-Garde exhibition in 1989 by Wei Guangqing, who “hanged” himself in pertinent locations, and Xiao Lu and Tang Song, who fired two shots at their installation, often described as the first shots fired in the events of 1989 that lead up to the incident in Tiananmen Square. Participating artists: Laboratoire Agit-Art, Willem Boshoff, Frédéric Bruly Bouabré, Kendell Geers, Rachid Koraïchi, Malcolm Payne, Art & Language (New York, including Ian Burn, Michael Corris, Preston Heller, Andrew Menard, Mel Ramsden, Terry Smith with the Red Crayola, Barrie Bates (Billy Apple), Gordon Bennett, Philip Dadson, Mike Parr and Peter Kennedy, Chang Chaotang, Danny Ning Tsun Yung, Geng Jianyi, Huang Yong Ping, Huang Huacheng, Song Yongping and others, Wei Guangqing, Wenda Gu, Wu Shan Zhuan, Xiao Lu and Tang Song, Xu Bing, Zhang Peili, Marina Abramovic, Peter Bartoš, Miklós Erdély, Stano Filko, Alex Mlynárcik, Zita Kostrová, Gorgona Group, Tibor Hajas, Jozef Jankovic, Tadeusz Kantor, Július Koller, Ana Lupa, János Major, Juraj Meliš, Paul Neagu, Gyula Pauer, OHO Group (Marko Pogcnik), Robert Rehfeldt, Jozef Robakowski, Petr Štembera, Goran Trbuljak, Akasegawa Genpei and Company/1,000-Yen Note Incident Discussion Group, Bikyoto (Artists Joint Struggle Council), Hikosaka Naoyoshi, Bikyoto Revolution Committee I, Hori Kosai, Kashihara Etsutomu, Matsuzawa Yutaka, Nomura Hitoshi, Yoko Ono, Hi Red Center, Yasunao Tone, Hikosaka Naoyoshi, and Akatsuka Yukio, Choi Byung-soo, Kim Dong-won, Kim Yong-min, Kim Yong-tae, Kim Bong-joon and others, Labor Newsreel (Labor News Production), Park Bul-dong, Sung Neung-kyung, Tucumán Arde, Artur Barrio, Oscar Bony, Waltércio Caldas, Antonio Caro, Ricardo Carreira, Lygia Clark, Eduardo Costa, Antonio Dias, León Ferrari, Alberto Greco, Víctor Grippo, Roberto Jacoby with Raúl Escari, and Eduardo Costa, David Lamelas, Antonio Manuel, Cildo Meireles, Hélio Oiticica, Liliana Porter, Eleanor Antin, Shusaku Arakawa and Madeline Gins, John Baldessari, Theresa Hak Kyung Cha, Carol Condé and Karl Beveridge, Hollis Frampton, Harry Gamboa, Jr., Hans Haacke, Douglas Huebler, Robert Huot, On Kawara, Mary Kelly, Joseph Kosuth, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Mr. Peanut (Vincent Trasov), Yoko Ono and John Lennon, Adrian Piper, Martha Rosler, Seth Siegelaub and John W. Wendler, Michael Snow, Lawrence Weiner, Joyce Wieland, Ilya and Emila Kabakov, Vitaly Komar and Aleksandr Melamid, Boris Michailov, Andrei Monastyrsky and Collective Actions Group, Irina Nakhova, Giovanni Anselmo, Alighiero e Boetti, Marcel Broodthaers, Stanley Brouwn, Daniel Buren, Victor Burgin, André Cadere, Guy Debord, Luciano Fabro, Grup de Treball (Working Group), Yves Klein, Piero Manzoni, Mario Merz, Roman Opalka, Gerhard Richter and Konrad Lueg, Sarkis, Ida Biard, and David Ebony, Gil Wolman".

New York: Rizzoli International Publications, 2010. Large heavy hardcover with dustjacket. 307 pages, profusedly illustrated. Introduction by Hal Foster. Fine copy. First edition. "Marrying pictures to words in a variety of media and sites, Kruger raises issues of power politics, sexuality, and representation." - "A masterly usurper and lampooner of manipulative advertising codes."

San Francisco: Chronicle Books, 2013. Original heavy hardcover, no jacket as issued (26,1 x 21 cm). 423 pages, richly illustrated and including Eno's personal notebook pages, his essay "Perfume, Defense, and David Bowie's Wedding," an interview with the artist, scholarly essays, and a free downloadable piece of music written for the book (code under scratchcard still unused in colophon). Fine clean copy. First edition with full number line. "A unique tour through the visual art of creative polymath Brian Eno. Featuring over 300 illustrations of Eno's installations, light, and video artworks, this volume is the definitive monograph on a contemporary master. In addition to pages of color art, the volume includes Eno's personal notebook pages, his essay "Perfume, Defense, and David Bowie's Wedding," an interview with the artist, scholarly essays, and a free downloadable piece of music written for the book (code under scratchcard still unused in colophon).