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Aarhus Universitetsforlag, 2005. 274 pp. Hft. Pænt eksemplar.

Aarhus University Press, 2015. Hardcover. 302 pages. With illustrations. As new. 1. edition.

Forlaget Multivers, København 2015. 502 sider. Orig. omslag. Lidt ydre brugsspor. Doktorafhandling fra Lunds Universitet.

Duke University Press Books, 2016. Paperback. XII, 326 pp. Fine clean, unread copy.

New York: McGraw-Hill Book Company, 1971. 8vo in original publisher's purple cloth, black cloth spine with gilt lettering, purple endpapers, with the original, albeit very worn jacket, now protected. Clean inside and overall a good solid copy. First US edition, first impression. "A cornerstone title in feminist literature, Greer's best-known work reflects her present status as one of the most outspoken, controversial and challenging writers in her field."

Arena, 1967. 160 pp. Hft. Godt eksemplar. 1. oplag."Teatret - en igle på din krop".

Cambridge, MA: MIT Press, 2002 (2000). Heavy 8vo in SOFTCOVER. XVI,. 368 pages. With illustrations. Name to inner cover else clean. Very good copy. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. The dream of the twentieth century was the construction of mass utopia. As the century closes, this dream is being left behind; the belief that industrial modernization can bring about the good society by overcoming material scarcity for all has been challenged by the disintegration of European socialism, capitalist restructuring, and ecological constraints. The larger social vision has given way to private dreams of material happiness and to political cynicism. Developing the notion of dreamworld as both a poetic description of a collective mental state and an analytical concept, Susan Buck-Morss attempts to come to terms with mass dreamworlds at the moment of their passing. She shows how dreamworlds became dangerous when their energy was used by the structures of power as an instrument of force against the masses. Stressing the similarities between the East and West and using the end of the Cold War as her point of departure, she examines both extremes of mass utopia, dreamworld and catastrophe. The book is in four parts. "Dreamworlds of Democracy" asks whether collective sovereignty can ever be democratic. "Dreamworlds of History" calls for a rethinking of revolution by political and artistic avant-gardes. "Dreamworlds of Mass Culture" explores the affinities between mass culture's socialist and capitalist forms. An "Afterward" places the book in the historical context of the author's collaboration with a group of Moscow philosophers and artists over the past two tumultuous decades. The book is an experiment in visual culture, using images as philosophy, presenting, literally, a way of seeing the past. Its pictorial narratives rescue historical data that with the end of the Cold War are threatened with oblivion and challenge common conceptions of what this century was all about." - Susan Buck-Morss is known for Dialectics of Seeing (1989). "This earlier text brilliantly reconstructed Walter Benjamin's unfinished "Arcades" project (on the consumer culture of Baudelaire's Paris), and established Buck-Morss both as an authoritative commentator on Benjamin and as a major cultural thinker in her own right. Dreamworld and Catastrophe seeks, in effect, to extend Benjamin's dialectical investigations into the imaginary of modern culture to another time and place

London: Thames & Hudson, 2000. Heavy 4to hardcover with somewhat worn but protected jacket. 240 pages, richly illustrated. First published on the occasion of the exhibition, "Print, power and persuasion: graphic design in Germany 1890-1945", presented at The Wolfsonian-Florida International University, 27 September 2000. German graphic and typographic design in the first half of the twentieth century represents an extraordinarily rich and diverse aspect of the history of visual culture. It marks the moment of recognition that the world was becoming increasingly dependent on a modern and commercialized system of communication in which the designer was to play a major role. An unprecedented scale of attention was devoted to printed matter, whether as designs for graphic ornament, typefaces and logos in books and advertisements, or magazines, posters, signage, and exhibitions. Jeremy Aynsley has written the first account in English of the emergence of German graphic design between 1890 and 1945. Based on many years of research and original material, this handsome book is lavishly illustrated with examples from across a stylistically varied field. There were many good reasons for Germany to lead in the field of print culture. Historically it was a country that had been associated since the Middle Ages with the arts of the book and printing, and many of the new design developments in the twentieth century grew from that base. The spectacular industrial and commercial boom following the Franco-Prussian War, when the Germans became world competitors, stimulated interest in the field of advertising, whether in newspapers, journals, or on sidewalk kiosks. Perhaps borrowing in the beginning from the Arts and Crafts movement in Britain, Art Nouveau in France, and the advanced advertising designers in the U.S., the German artists soon developed a style of their own that was aggressive, aesthetically adventurous, and well constructed to attract customers. While some of the individual designers such as Peter Behrens, Lucian Bernhard, Jan Tschichold, Herbert Bayer, and John Heartfield are well known, many others have not received such attention. Aynsley provides an amazingly well-rounded picture of this burst of innovation that changed the face of modern life, as well as of the politically and socially turbulent era that spawned it."

Suhrkamp Taschenbücher, 1988-89 (1976 - 1977). Taschenbücher. 417 und 543 Seiten. Einzelne Bleistiftsnotizen sonst gut erhalten.

Liljevalchs Konsthall, Stockholm / Rooseum - Center for Contemporary Art, 2000. Square 4to in wraps as issued. 197, (3) pp. Illustrated. Minor shelfwear else very good clean copy. 1. ed. William Anastasi, Fontana, Kelly, LeWitt, Ryman, Uecker, Jasper Johns, Yves Klein, Remy Zaugg, Robert Rauschenberg, et al.

Forlaget Bebop, 2006. 46 pp. Hft. Omslag af Kirkeby. Første danske udgave.

Gustavo Gili (GG), 2001. Small 4to in wraps as issued. 182 pages, richly illustrated. Text in both Spanish and English. Dog-eared copy. 1. ed. The projects in this book describe the new kinds of architecture emerging in former war zones, geological workings and land masses, and in marginal urban settings that were once home to heavy industry.

Forlaget Rhodos, 1983. 146 pp. Hft. Omslag med brugsspor.

New York & London: w. w. Norton and Company, 2004. Hardcover, w jacket. XVI, 336 pp. Very good clean copy. First edition. - "The most absorbing, wide-ranging and stimulating body of writing about the mighty Bob that's ever been assembled."

Cph., 1958. Original hardcover boards with unclipped jacket. 87 pp. Richly illustrated. Name to free front endpaper. Jacket edgeworn. Kay Fisker, Arne Jacobsen, Finn Juhl, Kaare Klint among others. Photos by Keld Helmer-Petersen & Jesper Høm et al.

New York: Harcourt, 2004. Publishers hardcover, with jacket. 469 pages. Illustrated. Fine clean copy. First US edition.

Tochnit Aleph (TA140). Double CD in 6-panel digipak inside slipcase, with 12-page illustrated booklet with liner-notes by Asger Jorn in french & english. New copy. “Musique Phénomenale” was recorded by Asger Jorn & Jean Dubuffet between December 1960 and March 1961 in Paris, and first published in 1961 as a box containing fourmrecords in an edition of 50 copies (+ 6 copies H.C.) by Galleria del Cavallino, Venice. 61 years after its original release this first ever reissue was produced in an edition of 600 copies by Daniel Löwenbrück / Edition Hans Pumpestok, København, in cooperation with Fondation Dubuffet, Paris.

Sweden: Svensk Musik, 2008 DVD in box with text folder in English. Very good set.

Louisiana Museum of Modern Art, 2022. 12 inch poster printed on both sides, designed as an LP cover that can be unfolded to 121 x W: 83.5 cm. Text in both Danish and English. Design by K GRAFIK Michael Jensen. As new. 1st edition.

Martigny: Fondation Pierre Gianadda. 2021. Square 4to in wraps as issued. 143 pages, richly illustrated. Text in French. Fine copy. Catalogue de l'exposition au Centre Pompidou à Paris du 03 décembre 2021 au 06 juin 2022. Comme neuf.

Copenhagen: Automatic Books, 2013. 12mo hardcover. 64 pages. Language: Spanish/ Danish. Unopened new copy.  Cómo robar libros, Bogrov, a book by Californian artist David Horvitz, is a shoplifter’s users guide in both Danish and Spanish. It details 80 ways in which one can steal a book. Translated into Danish and Spanish on the occasion of Hot, muggy, then cold and windy. We swam in the sea, it got misty and we couldn’t tell what time it was anymore, a solo exhibition by David Horvitz at Peter Amby in Copenhagen. Translated by Christian Viggo Waagensen with help by Peter Amby, Helga Just Christoffersen, Alexandra Laudo (Heroínas de la Cultura), Marla Jacarilla, and Zanna Gilbert. Edition of 100 copies. First edition.

Forlaget Tiderne Skifter 1999. 66 pp. Hft. Pænt eksemplar. Første udgave, 1. oplag.

Suhrkamp Verlag, 1990. Hardcover, mit Umschlag. 139 Seiten. Gut erhaltenes, zauberes Exemplar. Erste Auflage / First edition.

Sternberg Press 2013. Wraps as issued. 193 pages. With illustrations. Some handling wear but clean. Neomaterialism by Joshua Simon, explores the meaning of the world of commodities and re-introduces various notions of dialectical materialism into the conversation on the subjectivity and vitality of things. Reflecting on general intellect as labor and on the subjugation of an overqualified generation to the neo-feudal order of debt finance, Neomaterialism merges traditions of epic communism with the communism that is already here.

Gyldendal, 1992. 107 pp. Hft.