Sökresultat

Forlaget Swing, 1978. 50 pp. Hft. Rent og friskt eksemplar. Første udgave, 1. oplag. Omslag af Bjørn Nørgaard.

Federal Office Of Culture Bern, 2013. Tall 4to in wraps as issued. 64 pages, complete. Fine unopened copy. 1. ed.

Oslo: Det Norske Samlaget, 1967. 59 pp. Hft. Første udgave, 1. oplag, Med dedikation fra forfatteren, dateret 1967. Typografi og omslag av Kåre Andersen.

Forlaget Spring, 2021. 225 pp. Hft. Illustreret. Med dedikation fra forfatteren. "Film kan være mange ting: rørende, underholdende, sjove, informative, eksperimenterende, udfordrende eller afslørende. Men de kan også være foruroligende, ja, måske ligefrem subversive. Og i de tilfælde, hvor instruktørerne virkelig tager de levende billeder alvorligt som en kunstform, kan filmene endda vise sig at være direkte farlige for de involverede, hvad enten de så er ansvarlige for de visioner, der lægges frem, eller blot medvirkende. Dét er udgangspunktet for den serie af bøger – Farlige film – som indledes med nærværende bind om film med relation til Fluxus, Yoko Ono og Bob Dylan. Med udgangspunkt i sin tilknytning til Fluxus-gruppen skabte Yoko Ono i slutningen af 1960’erne og begyndelsen af 70’erne – alene eller sammen med John Lennon – en række konceptuelle og poetiske film, hvor tanken var, at det enkelte værk først blev fuldt realiseret i mødet med modtagerens bevidsthed. Nogle af filmene blev af samtiden betragtet som provokerende. Men i et enkelt tilfælde, Rape fra 1969, viste mediets kræfter sig at være så stærke, at de var tæt på at tage magten fra instruktørparret. De film, som Bob Dylan har været involveret i siden midten af 60’erne, er umiddelbart mindre kontroversielle, men i poetens filmiske hovedværk – den fire timer lange Renaldo and Clara (1978) – var den personlige investering så hudløs, at ophavsmanden måtte sande, at filmkunsten rent faktisk kan være farlig at danse med".

Forlaget Schultz, 1945. 52 pp. Hft. Omslag med lidt brugsspor. Fortsættelse af 'Grønne Digte' og 'Jeghuset'. Første udgave, 1. oplag. Eet af 500 nummererede og signerede eksemplar.

København: Kunst & Kultur, 1963. 205 pp. Hft. Lidt brugsspor. .

London: Bloomsbury, 1998. Square 8vo hardcover w jacket. 224 pages, illustrated throughout. Near fine copy.

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

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

Museum Tusculanum, 1998. Lille hardcover. 125 pp. Nærmest som ny.

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.

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.

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."

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.

Copenhagen: Danske Bogsamleres Klub ( Ejler Wangels Forlag), 1949. Samtidigt halvlærredsbind (hardcover). 235 pp. Et par sider med æselører ellers rent og pænt eksemplar. Sjælden dansk udgave / Rare Danish edition: "The City and the Pillar is the third published novel by American writer and essayist Gore Vidal, written in 1946 and published on January 10, 1948. The story is about a young man who is coming of age and discovers his own homosexuality. The City and the Pillar is significant because it is recognized as the first post-World War II novel whose openly gay and well-adjusted protagonist is not killed off at the end of the story for defying social norms. It is also recognized as one of the "definitive war-influenced gay novels", being one of the few books of its period dealing directly with male homosexuality." (wiki).

Chronicle Books, San Francisco, 1984. Squarish 8vo in wraps as issued. 90 pages, richly color illustrated. Includes a conversation with Edward Ruscha. Near fine clean copy. First edition.

Gyldendal, 1987. 179 pp. Hft.

New York: Harcourt Brace & Company / Starbright Foundation, 1998. Oversized heavy hardcover with glossy jacket and CD in pocket inside the backcover. 85 pages. Previous private owners bookplate (a Hans Christian Andersen motif) to inner cover front else clean and overall a clean and very good copy with only minimal shelfwear. First edition thus. Storytellers include Liam Neeson, Harrison Ford, Melissa Hart, Dan Akroyd, Calvin Klen, Jay Leno, Madonna, Robin Williams, Steven Spielberg, and twenty-three illustrators, such as Maurice Sendak, Fred Marcellino, Quentin Blake, and others. Due to size and weight foreign shipping will be extra and so please inquire before ordering this item.

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.

Arena, 1977. 211 pp. Hft. Oversat af Peer Hultberg.

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

Høst & Søn, 1972. Original hardcover. Upagineret. Illustreret i s/h og farver. Godt eksemplar.

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