Sökresultat

Chichester: John´Wiley and Sons, 2002. Softcover. X, 470 pp. Illustrated. Fine clean copy. "The 20th century was the most brutal and destructive hundred-year period in human history. More people were killed in its wars, large and small, than in any other century. At times, the will to destruction was so immensely overpowering that the very future of human life seemed to be threatened. Yet, at the same time, it was also the most civilising and creative of centuries. Cities everywhere have been the engines and the symbols of economic growth, intensifying production, distribution and consumption. Generally speaking, though, the richest nations of the world have also been those with the biggest proportions of their populations living in urban areas. It is not surprising therefore that, during the 20th century, the affluent nations devoted so much attention to ameliorating and, indeed, trying to perfect the city. The underlying aim was to reconcile its economic dynamism with its other roles as a social, cultural and political entity. By 1914, these efforts were sufficiently developed in most advanced capitalist countries to warrant being given a specific name, such as Städtebau, town planning, urbanisme, city planning, stedebouw, toshi keikatu or urbanismo. Of course, the notion of consciously shaping the physical form and disposition of the urban environment was not itself without historical precedent. What was new to the late 19th and, more especially, the 20th centuries, was the idea of making urban planning an integral part of capitalist urban development within broadly liberal and democratic societies. The story of how this happened forms the central concern of this book. It is, in other words, a wide and long survey of the development of urban planning in the advanced capitalist world",

New York: Harry Abrams 1999. Squarish 8vo in wraps as issued. 84 pages with 34 pages in Marden's Workbook, a 1987-88 travel sketchbook/visual diary. With an interview with the artist. 56 illus., 18 in full color, 38 duotone. Some shelfwear else fine and clean. 1st edition. This work presents fifty-two of Brice Marden's drawings ranging from his works in the 1960s in solid forms & muted tonalities through his later works ofcalligraphic imagery that culminates in his Cold Mountain series.

London: Vision Press Ltd., 1951. 8vo. Publishers hardcover with slightly worn but unclipped dustjacket. 89 pp. Illustrated with photographs, still from the movie. Very good copy. First edition. Da zdravstvuyet Meksika! is a film project begun in 1930 by Eisenstein (1898–1948) under contract to socialist author Upton Sinclair and other supporters in the United States. It would have been an episodic portrayal of Mexican culture and politics from pre-Conquest civilization to the Mexican Revolution. Production was beset by difficulties and was eventually abandoned. Jay Leyda and Zina Voynow call it Eisentein's "greatest film plan and his greatest personal tragedy". In the early 20th century, many intellectuals and artists associated with the European avant garde were fascinated by Latin America in general, and by Mexico in particular: for the French artist and leader of the Surrealist movement André Breton, for instance, Mexico was almost the incarnation of Surrealism. As film historian David Bordwell notes, "like many Leftists, Eisenstein was impressed that Mexico has created a socialist revolution in 1910". His fascination with the country dated back at least to 1921, when at the age of twenty-two "his artistic career started with a Mexican topic" as he put on a theatrical version of the Jack London story The Mexican in Moscow. Film scholar Inga Karetnikova details this production as a classic example of avant-garde aesthetics, an exercise in form rather than documentary realism; but "indirectly", she argues, "he did recreate the Mexican atmosphere". Above all, he saw in the Mexican revolution an instance of a "zealous idealism" that was also "close to Eisenstein, just as it was to the entire generation of Soviet avant-garde of the early 1920s". Some years later, in 1927, Eisenstein had the opportunity to meet the Mexican muralist Diego Rivera, who was visiting Moscow for the celebrations of the Russian revolution's tenth anniversary. Rivera had seen Eisenstein's film Battleship Potemkin, and praised it by comparing it to his own work as a painter in the service of the Mexican revolution; he also "spoke obsessively of the Mexican artistic heritage", describing the wonders of Ancient Aztec and Mayan art and architecture. The Russian director wrote that "the seed of interest in that country . . . nourished by the stories of Diego Rivera, when he visited the Soviet Union . . . grew into a burning desire to travel there". "It’s a really tragic film, because its ambitions were so great, it was spanning centuries of time, extraordinary resources were marshaled towards its production, and all we have is this ruin essentially, but it’s a glorious ruin." (Thomas Beard).

Arken Museum of Modern Art, 2015. 4to in stiff wraps as issued. 90 pp. Richly illustrated. Text in Danish. Fine copy. 1. edition.

Antipyrine, 2018. 2018 pp. Hft. Rent eksemplar. Første udgave, 1. oplag.

Samlerens Bogklub, 1997. 110 pp. Hft. Navn. Lidt ydre brugsspor.

Edition Taube, 2022. 4to. Hardcover, thread bound, 56 pages, color, multicolored cut. Light denting to cover edges else clean and fine.  First edition. Artists book by Hank Schmidt in der Beek - a must-have for all lovers of Suprematism, Constructivism and … ice cream.

San Francisco Museum of Modern Art and University of California Press, 2002. Tall large 4to in publishers hardcover, with jacket. 94 pages. Text in English. Richly illustrated. Fine copy. First edition.

Gyldendal, 1987. 179 pp. Hft.

MIT Press Cambridge, MA, 1988. Square 8vo in softcover as issued 19.5 x 19.5 cm. 191 pages, illustrated. Very good clean copy. Exhibition catalogue published in conjunction with "The Pop Project," a series of shows presented by the Institute for Contemporary Art at The Clocktower Gallery, New York, from October 22, 1987 - June 12, 1988. The four part series of shows included: "This is Tomorrow Today: curated by Brian Wallis; "Public Image: Homeless Projects by Krzysztof Wodiczko," and "Dennis Adams," curated by Tom Finkelpearl; "Present Tensions: 25 Years of Irreverence in Architecture," curated by Patricia Phillips and Glenn Weis and "Nostalgia as Resistance," curated by Thomas Lawson. Texts by Edward Leffingwell, Brian Wallis, Thomas Lawson, Lawrence Alloway, Graham Whitham, Judith Barry, Kenneth Frampton, Alison and Peter Smithson, Richard Hamilton, Reyner Banham, Eugenie Tsai, Dick Hebdige, Leo Castelli, John Coplans, Betsey Johnson, Roy Lichtenstein, Claes Oldenburg, Tom Finkelpearl, Patricia Phillips, Glenn Weiss, Howard Halle, and Alanna Heiss. Includes a bibliography and index.

Frankfurt am Main: Vittorio Klostermann 1987. 8°. Hardcover, mit OU. XXVIII, 369 Seiten. Name. Einige verstreute Anstreichungen mit Kugelschreiber.

Roskilde: Museum for Samtidskunst, 1991. 8vo. Mappe med folder og 6 originale postkort med værker af bl.a. Henning Christiansen og William Louis Soerensen. Folder er på 24 sider. Illustreret. Text på dansk. Illustreret. Komplet med 6 postkort. Folder med brugsspor, se billede. 1. ed.

Gyldendal, 2011. 304 pp. Hft. 1ste danske udgave.

London: The Folio Society, 1962. Publishers hardcover. 132 pp. Very good copy. First edition thus.

New York Da Capo Press, 1993. Tall 8vo in wraps. X, 182 pp. Fine clean copy First edition thus.

Harper Perennial Modern Classics, 2007 (2006). Paperback. 8, 358, 15 pp. Light edgewear, a fold to frontcover. SIGNED in hand by Irvin D. Yalom to titlepage, dated 2007. SIGNERET i hånden af Yalom på titelbladet.

Borgens Forlag, 1999. 155 pp. Hft. Nærmest som ny.

New York: Alfred A. Knopf, 1999. Original boards with dustjacket (hardcover). 482 pp. Some minor wear to edges and dustjacket with wear but intact and complete. First edition (stated). Brilliant cover design by Chip Kidd.

Amsterdam: Tuja Books, 2006. Illustrated paper-covered hardcover 24,8 x 17,5 cms., 206, (2) pp. throughout illustrated, partly in colour. Text in English. Front left edge with a dent (see photo) else an unread very good copy. 1. ed. thus. A survey of Fontana's unique works & hand-made editions, lithographs, screenprints, bronzes, ceramics, multiples, jewelry, fashion, design, and selection of posters, books and more.

Creation, 1996. Large 8vo in softcover. 256 pages, richly illustrated. Very good copy.

Gyldendal, 2009. Hardcover. 364 sider. Pænt eksemplar. 1. oplag.

Vittorio Klostermann, 1980. 8vo. Broschur. XXV,380 Seiten. Einige Anstreichungen. First edition / Erste Auflage. - "Die ausserlich lockerer erscheinende Gedankenfuhrung und der eher einem gedanklichen Kunstwerk als einer philosophisch-wissenschaftlichen Abhandlung eignende Sprachstil durfen nicht daruber hinwegtauschen, dass die Kunstwerk-Abhandlung ebenso wissenschaftlich streng und phanomenologisch aufweisend gedacht ist wie Sein und Zeit. Die von Heidegger entworfenen Grundzuge einer Philosophie der Kunst liegen in der Wesensbestimmung des Kunstwerkes, der Kunst, des Kunst-Schonen, des Kunst-Schaffens in der Abhebung vom handwerklichen und kunsthandwerklichen Schaffen und der Kunst-Bewahrung als des Wesens der Kunst-Betrachtung. Die am Text entlanggehende Auslegung versteht sich als systematisch, weil sie die Systematik des Gedankens Heideggers in dreierlei Hinsicht verfolgt: die Systematik der Philosophie der Kunst, die aus der Systematik der gewandelten Grundstellung Heideggers in der Entfaltung der Seinsfrage zur Zeit der Abfassung der Abhandlung erwachst, die ihrerseits nur erfasst wird unter standiger Beachtung der ersten systematischen Ausgestaltung der Grundstellung in Sein und Zeit."

Illustrationsforlaget, 1959. Original kartonbind med lærredsryg. (30) pp. Illustreret i farver. Småplettet i margin. Første udgave / First edition.

Forlaget KLIM 2018. To hardcover bind, det ene uden smudsomslag. 425, 448 sider. Godt sæt.

London: John Murray 1945. 4to in original wraps. 47 pp. Illustrated throughout. Very good copy.