Danbolt, Mathias. - Rowley, Jane & Louise Wolthers (ed.):

Moderna Museet, 1969 (1968). 4to. Original wrappers as issued. (638 pp.). Illustrated throughout with photos by Billy Name and Stephen Eric Shore among others. Very worn copy but complete. First edition, second printing, acceptable reference copy of the famous Warhol Stockholm-catalog - this most iconic of artists books. The catalogue for Warhol's first major European retrospective. Illustrated card covers, with a design after Warhol's 'Flowers' silk-screen. 614 black-and-white reproductions, divided into three sections: black-and-white reproductions of Warhol's work, followed by two sections of photographs of Warhol and his associates by Billy Name and Stephen Shore. "“As soon as the Factory opened, it became a hyperactive place. People began flocking there in droves for parties, to interview Andy, to take pictures, to make films, to become a part of it... Billy [Name] ran it like a theatre, vacuuming up after each performance and continually repainting the tinfoiling. He also became the Factory’s official recorder when Andy gave him his 35-mm camera and Billy began taking great photographs of the action, which he developed in an impromptu darkroom converted from one of the toilets. These photographs, as collected in the 1968 Moderna Muséet catalogue of Warhol’s first European retrospective in Stockholm, constitute the best visual documentary of the Silver Factory.” -Voctor Bockris, Warhol: The Biography. Warhol’s Moderna Muséet catalog “is a fine example of the catalogue-as-artist's-book, a form that ostensibly began with the Dadaists and Surrealists, and is produced with some of the roughest reproductions ever seen, which are entirely appropriate, and supplemented by a long section of Factory snapshots by Billy Name. The genre was revitalized by the Pop movement, and Warhol in particular, which demonstrates his position as a latter-day Dadaist. The Moderna Museet publication especially had a great influence upon Japanese photography in the late 1960s and 1970s, particularly the photobooks of the Provoke era” (Parr and Badger, Vol II). Published first by Moderna Muséet, Sweden, in 1968 as an exhibition catalogue for the show "Andy Warhol" at the Moderna Muséet in Stockholm, February - March, 1968, this the second printing, identical to the first.

Oxford University Press, 2007. Hardcover, w jacket. VIII, 268 pp. With illustrations. Fine clean copy. 1st edition.

Edition After Hand, 1973. (28) pages printed on black paper with4 statements by the artist are printed recto in gray (one per page), on the back of both covers are applied two small envelopes containing 6 stickers (3/3) with the words "afsender" and "modtager" ( = sender and recipient in Danish language). Handmade edition, in a limited numbers of copies, signed and dated by the artist on the back cover. Cover discolored with some foxing. The envelopes are both unopened. First edition. Very rare concrete poetry item.

Toulouse, France: Les Abattoirs / Geneva: Galerie Guy Bärtschi, 2001. 4to in original large and heavy hardcover with dustjacket. 111 pages, richly illustrated with finely printed reproductions. French and English text. Sunning to jacket else very good copy. First edition. "Henri Michaux used a loose and spontaneous form of frottage, which he called "apparitions", and saw it as a path to a parallel reality, just as he did with his automatic writing and mescaline. His frottages, made by rubbing a pencil over textured objects, became a source of experimentation for many Surrealist artists. The technique combines drawing, graphic art and sculpture and involves transferring the shape of an object by rubbing a coloring agent over paper lying on its surface."

Sternberg Press, 2019. Wraps. 272 pp. Very good clean copy. With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? What about activism in curatorial practice? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy. What unfolds in these pages is a vast range of ideas—a tool kit for cultural producers everywhere to engage audiences and face the fierce political challenges of today and tomorrow. What about Activism? is based on the summit “Curatorial Activism and the Politics of Shock,” which took place at the School of Visual Arts, New York. Along with expanded versions of the talks given at the conference, the book includes a transcript of a roundtable discussion moderated by Steven Henry Madoff and Brian Kuan Wood among the speakers and students in the MA Curatorial Practice program at SVA.

Picador Paperback, 2021. 353 pp. Cover with edgewear, inside clean copy. "Laing’s preferred method of appreciating an artist is the biographical essay. Hers is not quite criticism in the manner of, say, the late Mark Fisher, with an idea in every sentence, but rather, a collation and relaying of perspectives and information – occasionally penetrating and generally celebratory. As a critic, Laing tends to drop her readers off at the door. She is a maker of introductions, an enthusiast who speaks up for semi-obscure figures such as Arthur Russell (“the greatest musician you’ve never heard of”), or urges us to maintain in due regard the likes of Derek Jarman or Hilary Mantel. On glancing at the names gathered under the “Reading” section on the contents page, I cynically wondered if the scrupulously fashionable London dinner party chat-list (Deborah Levy, Maggie Nelson, Sally Rooney, Chris Kraus, etc) was strategically calibrated to shore up the author’s own cultural capital by association. "