Sökresultat

Slagmarks Skyttegravsserie, 1996. 131 pp. Hft. Tidligere ejers navnemærke foran ellers ren. Godt eksemplar.

Forlaget Tiden, København 1981. 473 sider. Heftet.

New York & Los Angeles: Published by Semiotext(e) / Intervention Series, 2011. Small 8vo paperback as issued. 173 pp. Suntanned, clean copy.

Gyldendal 1967. Original hardcover, lidt slidt i ryg med solid. (30) pp. llustreret af Arne Ungermann. Navn på friblad foran. Første udgave.

Jrp Ringier, 2012. Small 4to in stiff wraps as issued. 216 pages, richly illustrated. Backcover with scraping from pricetag removed else clean and fine, unread copy. First edition. - "Sources in the Air" accompanies David Maljkovic's three-part exhibition of the same name at the Van Abbemusem, Eindhoven, BALTIC Centre for Contemporary Art, Gateshead and GAMeC, Bergamo. Including films, sculpture, collage and installations from the past ten years, "Sources in the Air" is the artist's most comprehensive survey to date.

Arena, 1983. 84 pp. Hft. Pænt eksemplar.

New York: Everson Museum of Art Syracuse, 1985. Oblong 8vo in wraps as issued. 80 pages. Illustrated in bw. Near fine clean copy. First edition. With Essays by Lawrence Alloway among others. "Stuart has long been heralded as a true pioneer, known first for her nature-based art dating back to the late 1960’s and 1970’s, and one of the very few female practitioners of Land Art. In an expansive and illustrious career spanning five decades, her work seamlessly merges the fields of history, ecology and archaeology, reflecting intimate personal memory within the context of sweeping environmental and cultural events. She came of age as an artist in New York when both the feminist and environmental movements were being forged into the culture. For others, the ideals and core beliefs of these movements might have dissipated after first flush, but for Stuart the connection between humanity, the animal kingdom, our planet, and the greater spheres we revolve within, have only strengthened and solidified throughout the lifetime of her work."

Edition Bløndal, 2000. Original hardcover. Upagineret. Illustreret. Første udgave. Ryg solbleget, ellers pænt eksemplar.

Museum of Modern Art, New York 1980 . Square 8vo in original wraps. 144pp. 105 illustrations, 15 in color. Only minimal edgewear to cover else clean and fine, tight copy. MoMA exhibition catalogue. An international survey that included Jennifer Bartlett, Ed Ruscha, Joseph Beuys, David Hockney, Jasper Johns, Ellsworth Keylly, Andy Warhol and others.

Manuella Editions, 2013. 8vo in original canvas cover in coloured linen with a transparent, silkscreen-printed dustjacket as issued. 160 pages, illustrated. Fine clean copy. First edition. - Anri Sala’s project for the French Pavilion in Venice is a play on words based on the verb to ravel and its opposite, to unravel, as well as a reference to the famous French composer Maurice RavSound artel, who in 1930 composed the Concerto in D for the Left Hand, which is at the heart of Anri Sala’s project. The book was conceived by Anri Sala and Christine Macel to accompany this project and contains different texts offering a variety of perspectives, including historic statements of Maurice Ravel, Paul Wittgenstein (for whom Ravel composed the concerto) and Marguerite Long (a famous pianist and friend of Ravel’s), texts taken from the novels of Alexander Waugh (a Wittgenstein specialist) and of Jean Échenoz (extracts of his novel Ravel), texts about John Cage and the anechoic chambers by Dana Samuel or about the musical technique of the left hand by Hans Brofeldt, and finally essays by Laurent Pfister (on issues of copyright and authorship), by Peter Szendy (a musicologist and philosopher) and by Christine Macel (curator of the French Pavilion).

Serlachius Museums, 2020. Small 4to hardcover w jacket. 96 pp. Richly illustrated. Text in both Finnish and English. Fine clean copy. First edition.

Bobingen: Kessler, 2004. 4to in original wraps. 98 pages. Richly illustrated. text in both German and English. Light sunning to cover and light edgewear. Overall a very good clean copy.

University of Oklahoma Press, 1968. XVI, 208 pages. Text in both Spanish and English. Fine clean copy. First edition, softcover.

Ljublijana, Slovenia, Zavod P.A.R.A.S.I.T.E, 2010. 8vo in original wraps. 150 pp. Illustrated. Wear to cover edges. First edition. "The book ‘The Clandenstine Histories of the OHO Group’ holds a new light to the problem of the character of neo-avant-garde excess and the experimental work of the OHO Group – leading neo-avantgard group in the region – in the second half of the 1960s. The book focuses on the practices, works, and instances with which – under the conditions of socialistic modernism – the OHO Group problematised, provoked, and destroyed the socialistic order of the vision of the autonomy of art. The book exposes the activity of the OHO Group (1966-1971) and of the movement OHO-Catalogue (1966-1970) in the context of Slovene national culture, Yugoslavian socialistic culture and international youth culture of the late 1960s and early 1970s, particularly in relation to the following paradigms: 1.‘Transgression’ – in terms of the breach in relation to Catholic traditions and morals as well as to the socialist work ethic that the young artists carried out at that time; 2.‘Sexuality’ – in style with the Zeitgeist and in connection with the worldwide sexual revolution on one side and the use of sexuality as a critical and subversive instrument rising up against the opportunism and hypocrisy of real-socialism on the other. 3.‘Politics’ – the provoking and mixing of practices from contexts – which were allowed by politics – to the context of a serious understanding and practice of the revolution and emancipation from ‘the everyday grey’ of real-socialism. At the end of the 1960s, the writer of new arts and activist, Bora Cosic, wrote about the OHO Group: ‘I call it a movement. The group looks like something static, something rooted, something buttoned up. The Group still holds firm, just like a machine-gun bunker; that a movement can operate as an illegal organisation, equipped with medicine, good will, and a feeling of freedom.’ The OHO Group was created in an atmosphere of new artistic practices: from the aesthetic, philosophical and social movements of reism, structuralism, poststructuralism and Tel Quel across to the New Left, hippy culture all the way to arte povere, body art, experimental film, conceptualism, processualism, post-object arts and ludism (...)"

The Amsterdam Academy 2013. 12mo in publishers full clothed hardcover. 160 pages. Illustrated. Fine clean copy. In this work landscape architect Thomas Oles (USA, 1972) has gathered his ideas about landscape thinking and the landscape architecture profession in a handy book. Fifty entries serving the walker in nature or the designer in the landscape by way of reference, idea or principle. The book also contains contributions from landscape architects Marieke Timmermans (head of the department of landscape architecture) and Jacques Abelman. Graphis Design by Studio Sander Boon.

Denmark - Holte: Gl. Holtegaard - Breda Fonden, 2005. Large oversize 4to. Original hardcover, with jacket. 216 pages, illustrated in color. Text in Danish with an English Summary. Dustjacket with minor wear, but complete and otherwise fine. First edition. Richard Winther's take on Johannes Wiedewelt - disguised as 'WIE' Richardo da Vinci plunges into new paintings and sculptures. Book was designed by Michael Jensen.

Brøndums Forlag 2003. Lille hefte. 61 pp. Pænt eksemplar.

Vienna: Published on the occasion of the exhibition "David Maljkovic: Temporary Projections"; at Georg Kargl Fine Arts, 2011. 8vo in wraps as issued. 70 pp. Richly illustrated. Fine clean copy. First edition. Rare.

Prague: Panorama, 1985. 6 (=12) pages, printed on both sides (see photos). Minor rubbing, in all a very good copy. First edition.

Copenhagen: SMK - 2013. 8vo in stapled wraps as issued. 30 pages. Text in English and Danish. Illustrated. Fine copy. 1. ed. "What are quirky salt and pepper shakers doing next to some of the main masterpieces of art history? Haim Steinbach is deeply interested in objects and how they are displayed. In this exhibition he challenged our perception of the art museum as an institution by showing important works of art side by side with small everyday objects. In his works Haim Steinbach arranges objects from all sorts of contexts on shelves and walls and in display units. In fact we all collect things and place them next to each other – on a windowsill, the kitchen worktop, or a bathroom shelf. On a previous occasion Steinbach has explained that he regards the act of collecting and displaying things as a fundamental human practice: With my work, the bottom line is that any time you set an object next to another object you´re involved in a communicative, social activity. Haim Steinbach includes works of art from different eras and genres in his exhibition, presenting them in a way that is completely different from the usual approach taken by museums, which typically display art in accordance with chronological, thematic, or monographic principles. By making a break with those principles Steinbach creates a whole new contex".

Gyldendal, 2003. 88 pp. Hft. Lidt brugsspræget med nogle blyantsstreger i teksten.

New York: Alfred A Knopf Inc, 1980. Quarter bound in clothed hardcover with gilt on spine, dustjacket priceclipped. 245 pages. Fine clean copy. First edition.

Kolding: Museet Koldinghus, 2015. Stort format i hardcover. 208 pp. Rigt illustreret. Pænt eksemplar.

Galerie Asbæk, 1960. Kvadratisk 8vo i originalt klammehæftet omslag. (20) sider inklusiv omslag. Gennemillustreret. Med Asbæk's stempel.

The Arts Club of Chicago, 2014. 8vo in wraps as issued. 36 pages. Published on the occasion of Simon Starling: Pictures for an Exhibition, 6 June - 27 September 2014. 1st ed.