Sökresultat

Pasadena Art Museum, 1967. Original spiral bound pictorial boards, 25.5 x 22.5 cm. 56 pages, illustrated throughout. Foxing to edges, mainly top edge, and as always a hint of discoloring to inner covers due the qualities of paper, else only light edgewear, mainly corners, please see photo gallery.  First edition.- Artist's book / exhibition catalogue published in conjunction with show held at the Pasadena Art Museum, Pasadena, California, September 15 - October 22, 1967. Traveled to Washington University, St. Louis, Missouri, February 1 - March 3, 1968 ; and the University of Texas, Austin, Texas, March 17 - April 28, 1968. Includes interview with the artist by Barbara Bermans, chronology, biography, bibliography, and checklist. "I am put off by museums in general; they reek of a holly death which offends my sense of reality. Moreover, apart form my personal views, most advanced art of the last half-dozen years is, in my view, inappropriate for museum display. It is an art of the world: enormous scale, environmental scope, mixed media, spectator participation, technology, themes drawn from the daily milieu, and so forth. Museum do more than isolate such work from life they subtly sanctify it and thus kill it." -- statement from Kaprow's introduction to the publication.

Copenhagen: Eibes Forlag, 1853. Bound with "Faarekylling" (First Danish edition of "The Cricket On The Hearth") in a later, very fine brown morocco with gilt title. Only minimal brownspotting, overall clean and very well preserved. First Danish edition of '"A Christmas Carol" and First Danish edition of "The Cricket On The Hearth". Rare!

Delft IOS Press, 2014. 8vo in original boards. 1072pp, Illustrated. As new, unopened copy. Urban areas have been caught up in a turbulent process of transformation over the past 50 years and changes have been rapid, with issues such as mobility, nature, water management, energy use and public space featuring prominently.In each Olympic year since 1988, the Faculty of Architecture at Delft University of Technology has held an international conference focusing on the connection between research and design, exploring the field of tension between science, technology and art. This book presents the proceedings of the latest in this series of conferences: New Urban Configurations, held in Delft, the Netherlands, in October 2012 in collaboration with the European Association for Architectural Education (EAAE) and the International Seminar on Urban Form (ISUF). This edition of the conference discussed the role and critical potential of the architectural project in the transformation process of cities and territories that leads to new urban configurations.The publication contains all 140 accepted papers and a selection of the keynote lectures presented at the conference. The papers have been grouped into five main themes: innovation in building typology; infrastructure and the city; complex urban projects; green spaces, and delta urbanism. Four of these major topics are further divided into several subtopics. This book will be of interest to everyone involved in designing, building, thinking about as well as managing the urban landscape and territory.

New York: Grove Press, 1966. Two hardcover in original black clothed boards with gilt titles and purple endpapers in original slightly worn but solid slipcase with pasted on color illustration (see photos). LXIII, 2359 pp. Very good clean set. Complete reprint of the classic Victorian erotic autobiography, the longest ever published, in eleven volumes originally. The Grove Press reprint from 1966 was the first complete edition to be openly available, here offered in a very good second printing from 1966 complete with original slipcase. "My Secret Life, by "Walter", is the memoir of a gentleman describing the author's sexual development and experiences in Victorian England. It was first published in a private edition of eleven volumes, at the expense of the author, including an imperfect index, which appeared over seven years beginning around 1888. The work itself is enormous, amounting to over one million words. The text is repetitive and highly disorganised and the literary quality is negligible, but its frank discussion of sexual matters and other hidden aspects of Victorian life make it a rare and valuable social document. According to Steven Marcus, it is virtually the only source for information on London's houses of prostitution, in which Walter spent many hours. It has been described as "one of the strangest and most obsessive books ever written". In 1969 a British printer, Arthur Dobson, was sentenced to two years' prison for producing a UK reprint. It was not until 1995 that the work in its entirety was published openly in the UK. The identity of "Walter" is unknown. There is no scholarly consensus in favour of any of the candidates proposed.

Cologne: Verlag Studio Dumont / DuMont Buchverlag, 1976. Oblong large 4to in wraps as issued. Illustrated throughout with photographs by Ursula Schulz-Dornburg and a short text (on flaps) in both German and English by Sattler. Excellent, clean and very well preserved sharp copy - the best I have seen so far. The second photobook by Ursula Schulz-Dornburg, and made in a very similar way and same size as "Curtains at the Piazza San Marco" from 1973. 1st edition, 1st printing.

London: Thames and Hudson, 1995. Very large, very heavy 4to hardcover w jacket. 583 pages. Illustrations in b/w and colour. Minor edgewear to jacket else clean and overall a very good copy.  First UK edition. Heavy item - extra shipping charges may apply.

Copenhagen: Husets Bogcafe, 1971. Large folio format in original photoillustrated stapled wraps (37 x 29 cm, about the same size as Whole Earth Catalog). Illustrated throughout with b/ w photographs. Wrappers somewhat worn with tears and lots of rubbing to edges and soiling to cover front but still tight. Inside overall clean, one page with a large tear, but no loss. Discoloring. Overall an acceptable copy of this very fragile item. More photos available upon request. 1. and only printing. Danish photobook documentary made as a celebration of the new free hippie society in the making in the north of Jutland in Denmark. Sweet counter culture! 1968 was the formation of Association of The New Society in Copenhagen. 1969 / 1970 John Lennon and Yoko Ono visted Nordenfjord World University (Verdensuniversitetet) part of the groups activity in Jutland. 1970 The association The New Society purchased of 40 - 47 acres in Han District, between Froestrup and Oesterild. Thylejren was also called Froestrup camp after the name of the nearest village, Froestrup, here they would try to live in a new way. In 1970, escalated the association's activities in a large-scale summer festival that not only lasted 3 days, as it is common for festivals, but the entire 10 weeks. The goal was to explore alternative ways of being together in order to find new models of society.The first festival had 3,000 participants and thousands of visitors and curious to visit over the summer. The present publication is the original documentation of that summer made in the format resembling The Whole Earth Catalog. Extremely scarce!"

Paris & Malmö 1979 / 1980. 4to. 28 loose pages offset with text and photographs in original worn envelope (see photos). Text sometimes in Swedish, sometimes French. Except envelope, a very good copy. Limitation not known, probably very rare. First edition. Gette returning to his investigation at the beach at Malmo in Sweden where he earlier has worked with identification of the various foliage and beach plants and photographed them. Much of Gette's early conceptual art involved the use of botanical science alongside sculpture and photography. Alice in Wonderland, documentation from earlier projects, 1971, 1972, 1973, 1975, 1976 etc. A proposal for an exhibition in Malmö.

MIT Press, 1993. 8vo in publishers hardcover with dustjacket. XVIII, 348 p. Illustrated. Fine clean copy. Book and jacket design by Jean Wilcox. First edition - attractive copy. "On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists--Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe--but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin."

Copenhagen, 1917. Folio. One sheet. Drawing with pencil and hand colored with red water color on thick paper. Minor foxing, overall well preserved. 25 x 33 cm. "Der findes ikke magen til unge pigers sind, de siger nej om dagen, men ja i måneskin". Sung by Kiss Gregers at the Copenhagen Tivoli Revy in 1917, it was a hit and the lyrics co-written by Carl Actander and C. Th. Dreyer, the later very famous Danish filmmaker. This is a original handmade drawing for the original music sheet front cover. Handpainted. Artist unknown.

La Société des Expositions du Palais des Beaux-Arts de Bruxelles / Richter 1994 / 1995. Large heavy 4to in wraps as issued. 339 pages. In Dutch, French and captions in English. Some wear to spine (see photos) else very good clean copy.  First edition. Hard-to-find. - The Wide White Space Gallery was founded by Anny De Decker and Bernd Lohaus, a former student of Joseph Beuys, in Antwerp in 1966 and was managed by them both until it closed in 1976. Through its close collaboration with such artists as Joseph Beuys, Marcel Broodthaers, Lawrence Weiner, Carl Andre, Daniel Buren and Panamarenko, the Wide White Space Gallery became one of Europe's leading avant-garde galleries within the short space of only ten years. Published on the occasion of the exhibition Achter het museum - Derrière le muséee at Palais des Beaux-Arts de Bruxelles, 28.10.-31.12.1994 and MAC, galerie contemporaine des Musées de Marseille, april/may 1996. This publication contains interviews with Anny De Decker and Bernd Lohaus; with the artists Lawrence Weiner and Daniel Buren; with Johannes Cladders, the former director of the Abteiberg Museum in Monchengladbach; and with the collectors Martin Visser and Isi Fiszman. It gives a complete account of the Wide White Space exhibitions and, as such, constitutes an historical survey of contemporary art with special reference to its reception. It lists, for example, all the works shown at each exhibition, with all relevant particulars, and also supplements this information with, amongst other things, references to contemporary reviews, details and/or illustrations of the invitation cards and posters, and photos of the exhibition openings. Heavy item that may require extra shipping costs, please inquire before ordering this item!

Düsseldorf: Droste Verlag, 1968. 8vo. Softcover as issued. 216 pp. Printed in several colors, richly illustrated by Wolf Vostell. Well preserved, clean copy with only minimal edgewear. First edition, 1st printing 1968 of this rare supercool German Pop Art item by Ohff & Vostell. Heinz Ohff (1922 – 2006) was editor and author and part of the experimental German art scene in the 60's and 70's. His book “Pop-Art und die Folgen!!!” (Pop Art and the Consequences, 1968), which Wolf Vostell “visualised”, developed cult character. "ow is this unusual intellectual and literary turn toward “pop” to be explained? In Germany, the reason lies quite unambiguously in the fact that “pop” was momentarily equated with “counter-culture” and “underground” by a great number of artists, literary columnists, politicized students and younger theorists. A starting-point for this had already been delivered by the acceptance of Pop Art among some young German artists such as Wolf Vostell. They were seeing American Pop Art in constant connection with Fluxus actions and provocative Happenings. The question: Whether the pictures and objects of Pop Art—which portrayed in part well-known consumer-objects from the American supermarket or the stars of Hollywood and Rock ’n’ Roll—were intended to be affirmative, critical or indifferent, can thereby be unambiguously answered at least in one facet: They were completely an expression of criticism to the extent that they formed an affront compared to the artistic taste of the cultured bourgeois elite (‘Bildungsbürgertum’). Even if these German artists were by no means engaged in drawing comics, manufacturing designs for cardboard detergent-boxes (and probably still preferred compositions by Stockhausen rather than listening to Brian Wilson), their mere commitment to these forms of pop culture was at that time an avant-garde act in itself. The alienating effect of Pop Art consists in taking popular objects, pictures and signs out of their usual context, in most cases slightly altering them. However, this demonstrative confession that objects of popular culture are to be valued estranges the prevailing majority of educated art lovers. Thus, the alienating effect here simply consists of artists or intellectuals positively confessing to the phenomena of ‘mass culture’ (Thomas Hecken, 2013). 

Harper's Bazaar, 1940. Large magazine format in original wrappers. 152 pages. Spine worn (please see photo gallery) but solid and overall very good copy and complete. A rare original vintage Harper's Bazaar issue from the Carmel Snow Era, an absolute Supermagazine with Alexey Brodovitch as the art director and Diana Vreeland fashion editor. Photos by Louise Dahl-Wolfe, Cover illustration by Cassandre. Photos also by Man Ray, and Munkacsi, Kollar, etc. Several pages of illustrations by Vertes.

Bombay: Anandam Film Society , 1966. 4to in original wraps. Unpaginated, around 300 pages, illustrated in beautiful design. Some edgewear etc., but clean and overall well preserved and clean throughout. More photos available upon request. 1st edition. Very rare!

Canada: Regina Campus, 1972. 4to in simple wraps. 93 pages. Some minor sunning to cover. Last page with a small tear else clean fine copy. More photos available upon request. First printing. - A rare copy of the original pre-publication version produced in Canada during Ken Friedman's period as artist in residence at Saskatchewan University's Regina Campus in March 1972. Friedman states in the foreword that the final version will have an introduction by Jorge Glusberg, of the Centro de Arte y Communicacion in Buenos Aires, and a SYMPOSIUM, in which Dietricht Albrecht, Tom Albright, Alison Knowles, Richard Kostelanetz, Lucy Lippard, Michael Morris, George Neubert, Jock Reynolds, Klaus Staeck, and Denis Wheeler is planned.

MIT Press, Cambridge, 1999. Large thick 8vo in publishers hardcover, w jacket protected. 52, 569 pp. Illustrated b/w. Book and jacket design by Ori Kometani. Fine attractive copy. First edition of the landmark anthology collecting for the first time the key historical documents that helped give definition and purpose to the conceptual art movement : "Compared to other avant-garde movements that emerged in the 1960s, conceptual art has received relatively little serious attention by art historians and critics of the past twenty-five years—in part because of the difficult, intellectual nature of the art. This lack of attention is particularly striking given the tremendous influence of conceptual art on the art of the last fifteen years, on critical discussion surrounding postmodernism, and on the use of theory by artists, curators, critics, and historians. This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement. It also contains more recent memoirs by participants, as well as critical histories of the period by some of today's leading artists and art historians. Many of the essays and artists' statements have been translated into English specifically for this volume. A good portion of the exchange between artists, critics, and theorists took place in difficult-to-find limited-edition catalogs, small journals, and private correspondence. These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews. Contributors Alexander Alberro, Art & Language, Terry Atkinson, Michael Baldwin, Robert Barry, Gregory Battcock, Mel Bochner, Sigmund Bode, Georges Boudaille, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Victor Burgin, Ian Burn, Jack Burnham, Luis Camnitzer, John Chandler, Sarah Charlesworth, Michel Claura, Jean Clay, Michael Corris, Eduardo Costa, Thomas Crow, Hanne Darboven, Raúl Escari, Piero Gilardi, Dan Graham, Maria Teresa Gramuglio, Hans Haacke, Charles Harrison, Roberto Jacoby, Mary Kelly, Joseph Kosuth, Max Kozloff, Christine Kozlov, Sol LeWitt, Lucy Lippard, Lee Lozano, Kynaston McShine, Cildo Meireles, Catherine Millet, Olivier Mosset, John Murphy, Hélio Oiticica, Michel Parmentier, Adrian Piper, Yvonne Rainer, Mari Carmen Ramirez, Nicolas Rosa, Harold Rosenberg, Martha Rosler, Allan Sekula, Jeanne Siegel, Seth Siegelaub, Terry Smith, Robert Smithson, Athena Tacha Spear, Blake Stimson, Niele Toroni, Mierle Ukeles, Jeff Wall, Rolf Wedewer, Ian Wilson.

Berlin: Compton Verney, 2005. Small thick 8vo. Hardcover in dustjacket. 644 pages illustrated with numerous color photographic images throughout. Only minimal shelfwear to jacket edges else fine clean copy. First edition. Cited in Parr and Badger , Vol 3. The" J. Street Project" is a film and photography project with depictions of streets and street signs in Germany that incorporate the word ‘Jude’ (German for ‘Jew’). Hiller found a total of 303 signs in streets, lanes, roads, avenues and alleys scattered throughout the country. The work focuses on the dissonance between these mundane, everyday signs and the memories they trigger of a genocidal history. (...) For this factual, indexical project Hiller maintained a neutral seriality in her approach. Cumulatively, however, it becomes clear that the signs are loaded with the memory of Jewish presence in the locations, not just from modern times but from thousands of years of history. The tension between past and present (...)highlights the sense of absence and traumatic loss. The place names operate as memorials of erasure. Curator Renée Baert has written: The spectrum of dissonances in this work produces a constant oscillation – in the gaps and contradictions between the banal signs and terrible history they evoke; between their simple references and the complex associations they engender; between charming alleyways, leafy avenues, shady glens and the absence of Jewish communities amongst these Juden-pathways. Through discovering these street names distributed throughout the German landscape, Hiller has constituted at once a powerful commemoration and an unyielding interrogation. (Saidye Brofman Centre for the Arts 2006). Hiller has written of the work: "These street names are ghosts of the past, haunting the present. The street signs in my images explicitly name what’s missing from all of the places. I hope the work will provide an opportunity or meditation not only on this incurable, traumatic absence, but also on the causes of more recent attempts to destroy minority cultures and erase their presence".

New York: Harper's Bazaar, 1951. Large magazine format in original wrappers. 200 pages. Cover worn at spine and has been repaired neatly to spineends, wear to edges. Contemporary price stamp to front (see photos). Inside clean and bright and overall a very good solid copy. Super issue featuring: Ginger Rogers, Suzy Parker, Madame Bousquet, Pamela Churchill, Evelyn Tripp, Jean Babilee. Fashion designs by Piguet, Gres, Schiaparelli, Desses, Balenciaga, Dior, Lanvin, Patou and others. Photos by Henri Cartier-Bresson, Richard Avedon, Jean Moral, Karen Radkai, Lillian Bassman, Louise Dahl-Wolfe, Plucer, Kay Bell, Genevieve Naylor. Drawing by Saul Steinberg.

Sweden: Moderna Museet, Stockholm 1964. Square small 8vo 21,5 x 21,5 cm in original wraps. 112 pages plus ads. Illustrated richly and printed multi-colored. Good to very good copy with a crease to frontcover upper right corner (see photos) and else only light handling wear. Complete. 1st printing. - Moderna museets utställningskatalog, no. 37. Before Melin did the 1968 Warhol catalogue for Moderna, he did this, and it is the perfect companion. A true masterpiece!

Berlin: Verlag von Wilhelm Ernst & Sohn, 1908. Large8vo. Original hardcover, Ganzleinen, vergoldet. VII, 432 S., mit 498 Abbildungen, mit alle 5 Gravuren und 1 gef. Karte ("Die Ost-See" - mit ca. 2 cm langem Riss, aber kein Verlust). Sehr schönes Exemplar! First edition, with all 5 engravings and with 1 map of the Baltic Sea- region, this with a minor tear but no loss, else clean and very well preserved in the original fine binding with gilt title. Illustrated very richly with many photographs from the city.

New York: Hearst Magazines / Harper's Bazaar, 1939. Large magazine format in original wrappers. Some minor soiling to front cover right top, wrappers edgeworn and wear to spine (see photos) but solid. 172 pages, richly illustrated, and complete issue. In all a good / very good copy.  A very rare 1939 vintage Harper's Bazaar issue with original cover by A.M Cassandre, the legendary Art Deco poster artist. Photos by Louise Dahl-Wolfe, Munkacsi, among others.

Kehrer, Heidelberg for Stadtgalerie Saarbrücken, 2002. 8vo in publishers hardcover, no jacket a issued. 174 pages, illustrated. Text in both German and English. Light wear to cover edges (see photo) else a clean and tight, well preserved copy. First edition. - "Sound in art is one of the most fascinating phenomena in modern art. In recent years, more and more people have developed an interest in it: they apparently sense that this form of art touches on a fundamental experience. After all, at the very beginning, all of us got to know the world we live in as an acoustic space, before the sense of sight, which develops later, put us at a distance from the world. This book provides insight into the work of important protagonists of sound art and some of its out-standing representatives from the younger generation: Andres Bosshard, Paul DeMarinis, Rolf Julius, Christina Kubisch, Bernhard Leitner, Andreas Oldörp, Ed Osborn, Martin Riches, Steve Roden, Erwin Stache, Miki Yui. The authors Bernd Schulz, Helda de la Motte-Haber, Robin Minard, Michael Glasmeier, Berhard Leitner and Andres Bosshard discuss the significance of philosophical, phenomenological, psychological, and musicological aspects of sound art."

New York Geneva Stockholm: United Nations Conservation Foundation, 1972 for United Nations Conference on the Human Environment Stockholm, Sweden. Small sqaurish 8vo. Five booklets in original slipcase. Slipcase edgeworn, rubbed at corners but complete and is not damaged, no loss and is also clean. The folders all excellent, sharp and clean and beautiful. More photos available upon request. Stockholm, 1972. Five years after the Summer of Love, four after the Paris riots; the Cold War is in full swing. The Club of Rome has just projected a future in which the demands of a growing human population outstrip the Earth's capacity to provide. The blue whale, the biggest animal that ever lived, has been hunted almost to extinction. Atom bomb tests continue to garnish the world in strontium-90; and from Japan to Europe to North America, man-made poisons are affecting plants, animals and people. Economically, the world has never had it so good. But governments are beginning to realise that nature is paying a price. On 5 June 1972, in the Swedish capital, they began to build their response, in the form of the United Nations Conference on the Human Environment - the first UN summit on the environment, and the event that really put the issue on the global political agenda. (...) no country in the world had a ministry of the environment before Stockholm, as the first the Norwegian delegation raced back to Oslo and established a ministry. Stockholm started something; it put the environment on the political agenda." Internationally, that agenda would lead in 1987 to the Brundtland Commission and its famous definition of a sustainable society as one that "meets the needs of the present without compromising the ability of future generations to meet their own needs". It would lead to the Rio de Janeiro Earth Summit in 1992, which gave birth to UN conventions on climate change, biodiversity and desertification, and the Agenda 21 "roadmap" to sustainable development. This is the original UN publication from 1972 complete with 5 pamphlets (in portfolio) illus. 16 x 21 cm. [1] Resources: used and abused / John Ludwigson. [2] Pollutants: poisons around the world / Jeremy Main. [3] A world of cities / Frederick Gutheim. [4] A watch on the earth / G. M. Woodwell. [5] The art of progress development and the environment / Anthony Wolff. With photographs by Cornell Capa, Rene Burri, Ansel Adams, George Rodger, Bruce Davidson, Henri Cartier-Bresson, NASA, Andre Kertesz, Eugene Smith, Marc Riboud and others.

Lunds Konsthall, 1969. Kvadratisk 4to. Original grønt omslag. Mappe med løst indlagt materiale af de deltagende kunstnere (komplet). Fint eksemplar. Første oplag / First edition. Fine copy. Særdeles fin avantgarde publikation fra kredsen omkring Eks-skolen og tidskriftet TA' BOX.

Offset lithographic poster on heavy paper, signed in black marker by Serra 2003. 35 × 41 inches / 88.9 × 104.1 cm. Minor edgewear. Rolled.