Sökresultat

Hagerup, 1941. 406 pp. Uncut in the original wraps as issued. Clean and very well preserved. Very scarce, especially in such fine state.

London: Koenig Books 2008. Landscape format in stiff wraps as issued. 138 pages. Illustrated. Fine clean copy. Andrea Geyer?s work Spiral Lands / Chapter 1 was presented at documenta 12. Spiral Lands represents with panoramic landscape photographs Geyer?s view on southwestern North America and focuses on a long lasting fight about social justice in America; the condemnation of the narrative Americans, the fight for their rights and the return of their land. Geyer?s photographs express her desire for justice. Combining the photographs with diary notes, scientific, philosophical or contract texts Geyer interrupts the idyllic seemingly landscapes: "Geyer's Spiral Lands is a work of photographic and textual historiography that investigates the longest struggle for social justice in North America today — the dispossession of lands from American Indians by colonization, governmentality, capitalist development, and flat out force and violence. These claims for spatial justice are deeply temporal — legislation from Europe around the "Doctrine of Discovery" and "the Rights of Conquest" were written in 1493 and law suits initiated by native groups to uphold treaty rights and gain land claims have spanned most of the 20th century to today — and Spiral Lands sculpts a complex understanding of the dynamic of history, place, ownership, capitalism, vision and photography to explore how North America is literally a contested zone that has yet to reconcile its own history and its heroic narratives of conquest as a capitalist myth of origins. Foraging through the archive of colonial proclamations, treaties, manifestos from the American Indian Movement (AIM), anthropological texts, personal histories, corporate reports, travelogues and oral histories, Geyer shows this relationship of land and ownership, of space and history, to be the very condition of the global present rather than a repressed history that can be brought into view by adding it to existing historical narratives. The landscape photographs of contested sites of Native lands challenge the historical scopic regimes of North American landscape photography and counter a photography of a spirit of place (genius loci) with the representation of place as process that is dynamically historical, intensely present and visually uncanny. The heart of this work is a radical beauty of a cultural politics based not on cultural recognition and liberalism, but on social justice" (Jeff Derksen).

Copenhagen, 2001. Oblonged8vo. Original printed wrappers (with graphic design by Gilbert Hansen). Unpaginated. Illustrated throughout in colour. Introductory text in both Danish and English. Fine copy. First edition - Signed by Finn Larsen. - Along 58 km railway stretch with Finn Larsen and his camera. First edition. Chosen as one the 28 most important Danish photo books for the catalogue and exhibition '28 Danish Photographic Books' (2006) in connection with exhibition 'The Open Book' by The Hasselblad Centre (2004).

Røde Hane, (1980). Aflang 4to i original heftet omslag med brugsspor. 32 sider. Illustreret med 14 helsides fotografier i s/h. 1. oplag. Fotobog for børn om kampen for Byggeren / "Hands of Byggeren" is a Danish photobook for children (!) on "The Fight for Byggeren". Byggeren was an empty plot of land in the middle of Copenhagen and was to be the site of large new housing blocks to replace the demolished buildings, but no one knew when. Fed up with the inactivity, the residents built an adventure playground for the local children in 1973. Byggeren, as it was called, soon gained the status of a state-run children's institution. In April 1980 the Majors Office with the Police moved in to clear the land and violent confrontations erupted and the police declared a state of emergency in Nørrebro. First and only edition. Scarce item.

London, The Nonesuch Press, 1948. Original clothed hardcover with gilt title 200mm x 130mm (8" x 5"). xxiv; 671pp. Very fine copy.

Arkmappen / Ark Edition, 2011. One sheet with white printed letters on black surface "Nothing Is Impossible" / Ben. Fine. First and only printing.

Cannes / Zentropa, 2005. 127 pp. Original wrappers. With illustrations. Light edgewear to cover else fine clean copy. First edition.

Semiotext (e), 1998. Paperback as issued. 413 pages. Light edgewear. A clean copy. From 1993-96, artist Rainer Ganahl held six reading seminars with six different bibliographies in six different countries and entitled this public project; "IMPORTED—A READING SEMINAR, Or How to Reinvent the Coffee Table: 25 Books for Instant Use (7 Different National Versions).” Imported – A Reading Seminar is an extension of that project and gathers together a collection of texts with the common theme of import. For this volume, Ganahl invited a series of authors who have an intimate relation with each country he visited to contribute texts or interviews addressing the consequences of (cultural) exchange, globalization, nationalism, multinationalism, Orientalism, Eurocentrism, tourism, languages, theory, desires, identity, and politics from a variety of perspectives. The interview between Kojin Karatani and Sabu Kohso, included in this volume, addresses important economical and political aspects along with its instrumentality in the construction of nations and of race consciousness; Bill Arning's text demonstrates how the author came to understand through his experience as a curator that sexuality always has a specific cultural context; Coco Fusco deals with issues of prostitution in socialist countries now in the process of transition to capitalism; dealing with displacement of collective identities and their representation, Sami Naïr asks the question: What is it to be Arab? And Sylvere Lotringer: How can one become a foreigner in a foreign country. The resulting volume includes texts in English, Japanese, Russian, German, and French by nineteen different authors. Knowledge of a foreign language helps, but is not necessary. Along with those already mentioned included are texts by Julia Kristeva, Gayatri Spivak, Edward Said, Zeigam Azizov, Lisa Adkins, Dan Bacalzo, Benjamin Buchloh, Karen Kelsky, Dana Leonard, Edward Soja, Victor Tupitsyn, Wulf Schmidt-Wulfen.

London: Thames & Hudson, 2004. Squarish 8vo in stiff wraps as issued. 208 pages. Richly illustrated 230 illustrations, 200 in color. Text in English. Spine sunned else clean fine copy. From the "Art Works" series. Autobiography was also the title of an exhibition co-curated with Barbara Steiner at GfZK Museum of Contemporary Art, Leipzig 2003. Artists include Lynn Hershman, Eleanor Antin, Cindy Sherman, Tracey Emin, Gerhard Richter, Christian Boltanski, Elke Krystufek, Sophie Calle, William Kentridge, Kabakov, Rosemarie Trockel, Nan Goldin and others.

University of California Press, 1995. Small hardcover, with dustjacket. XIV, 271 pp. Illustrated b/w. Fine copy. Publisher's note: 'Smithson's pioneering earthworks of the 1960s and 1970s anticipated contemporary concerns with environmentalism and the site-specific character of artistic production. His interrogation of authorship, the linear historiography of high modernism, and the limitations of the museum prefigures key themes in postmodern criticism while underscoring the uniqueness of Smithson's own work as an artist, filmmaker, and writer. Gary Shapiro's elegant and incisive study of Smithson's career is the first book to address the full range of the artist's dazzling virtuosity. Ranging from Smithson's best known works such as "Spiral Jetty" and "Partially Buried Woodshed" to his photographs, films, and theoretical readings and writings, Shapiro's masterful book analyzes Smithson's art in relation to the legacy of American art of the 1960s and central philosophical themes in its contemporary reception.'

Copenhagen: Holkenfeldt 3, 1993. Small 4°. Publisher's photoillustrated hardcover. 104 pp. Profusedly illustrated with b/w vintage photographs of women - nudes or in bathing suits or underwear, all by the female Danish photographer Mary Willumsen whose work was confiscated by police. Near fine / fine copy. First edition.

Oslo: Kunstnernes Hus, 1993. Slim 4to in wraps as issued. 74 pages, in English and Norwegian. Richly illustrated. Fine copy. First edition.

Bologna: Cappelli Editore, 1974. Tall 8vo in wraps. 330, (2)pp. With 70 black and white plates. Text in original Italian. First to pages (half title and titlepage) with a small tear and last blank page with a fold else overall a good, well preserved copy. First limited edition, published as part of the series "Collana cinematografica", 48. Diretta da Renzo Renzi. Numbered copy (# 951). Includes the original screenplay in Italian, as well as essays by Angelucci, Betti, Enzo Siciliano, Valerio Riva, and Fellini himself.

AA - Architectural Association Publications, 2003. 8vo in wraps as issued. 176 pages, illustrated in color. Text in English. Light wear to cover else clean and fine copy.

Copenhagen: Københavns Lufthavne, 2001. Small4to. Original boards. 79 pp. Richly illustrated. Fine copy. Copenhagen Airport designed by Vilhelm Lauritzen.

New York: Farrar Straus Giroux, 1959. Publishers hardcover, w well preserved unclipped and protected jacket. XV, 270 pp. First edition. Jacket design by Ronald Clyne. A "glimpse into Merton’s inner life before entering monasticism, tracing his journey through Greenwich Village, Cuba, St. Bonaventure, and Harlem, culminating at the threshold of Gethsemani Abbey".

Corte Madera: Gingko Press, 2006. Large oversized very heavy hardcover (29,2 x 26,7 cm). 319 pages. Text in English. Very richly illustrated in color. Fine clean and tight copy.

Borgen, Vinyl, LP, Album 1987. Near mint / near mint. 

Harvard University Press, Loeb Classical Library, 1958. Publishers red hardcover (s), no jackets. xvi, 456; xi, 496; viii, 532 pp. Near fine / fine clean copy (copies). The classic annotated Loeb edition of Seneca's Moral essays bilingual, English and Latin by John W. Basore. Loeb # 214, 254, 310. Hard to find with all three volumes complete.

Kaleidoscope Press, 2010 (1995). 12mo hardcover, no jacket, as issued. 206, (4) pp. Fine clean copy. With a new foreword by the artist. - Second edition, first printing thus - of the critically acclaimed French artists' publication: an artist's book and novel of speculative fiction: "In late 1994 Philippe Parreno dictated to Liam Gillick and Jack Wendler a fantastical description of a party that had not yet occured. Snow Dancing, is a record of his original conversation and the party it described. At the Consortium in Dijon two months later, hundreds of people were invited to participate in a promotional event that played out Parreno's earlier description. The party lasted one hour and a half hours, exactly as long as it had taken to narrate it and about as long as it will take you to read this book. "Snow Dancing (1995) started with the publication of a book in which I described a promotional event, a kind of party or festival. The reading time of the text was about the same as the event itself. So the book was a score that was performed in Le Consortium in Dijon. I transformed the exhibition space that hosted the party, and this time-based architecture became the exhibition - people were invited to visit an architecture produced by a party. So the book was a score that produced a space." - Parreno, Philippe interview with Tom Morton.

Galerija suvremene umjenosti Zagreb 1975. Square 8vo in wraps as issued. Text in both Croatian and English by Davor Maticevic. 150 pp. Illustrated thorughout. Fine copy.  Dalibor Martinis (b. 1947) Croatian video, performance and conceptual artist. Graduated at Zagreb Academy of Fine Arts 1971. Exhibits since 1969, began working with video in the early 1970s. Taught at Zagreb Drama Academy from 1987-1991, and 1991 as a guest lecturer at Ontario College of Art in Toronto. He also works as a graphic designer. - The artworks in this book were not commissioned, he tells in an interview "I just produced them myself. They were imagined as an intervention in the wider urban space and into the sphere of city living that concerned everyone, not just me. They were in a sense an extension of my work on Counterfeits of 1973, collage interventions into the tram tickets of the time that contained a graphic display of the city’s layout of the time and the tramlines. There were small, hardly visible interventions and changes on the tickets that at the same time suggested big changes in the layout of the city. Qua document, such a ticket was a fake. In the making of the posters I also made use of graphic elements of tram tickets because it was then a generally recognised graphic portrait of the city, of life and movement around it, an image that every inhabitant recognised".

Creation Books, 2001. Tall 8vo in softcover. 246 pages, many bw illustrations. One ink note else clean and well preserved.

Faber and Faber, 2009. Small hardcover, w jacket. 309 pages. Fine copy.

Oslo: Generalkrigskommissariatet, August 1946. 4to i original heftet omslag. (60) sider, alle med illustrationer / tavler i sort hvid. Noget slidt. Originaludgave.

MIT press, 2012. Large paperback. XX, 270 pp. Fine clean, unread copy. An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.