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Kirkegaards Antikvariat
kir55198
JRP Ringier / Vancouver Special Series, 2007. 4to hardcover, no jacket as issued. 174 pp. Illustrated. Fine copy. First edition. - "The Rodney Graham Songbook" is a hardcover with a compilation of 39 songs from Graham's CDs and records including "The Bed Bug", "Love Buzz, And Other Short Songs in the Popular Idiom", "Getting it Together in the Country", "Rock is Hard", and "Never Tell a Pal A Hard Luck Story". Graham s songs are transcribed into sheet music with musical notation for piano, guitar tablature and lyrics. Taking the form of a popular songbook, the book features images of the artist, his band and new artwork. In addition the book contains a CD compilation of rare cover songs with two brand new track
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Kirkegaards Antikvariat
kir57315
Peter Owen, 1972. Publishers hardcover with slighty edgeworn jacket. 379 pp. Clean copy. First British Commonwealth Edition (stated).
Kirkegaards Antikvariat
kir09013
Rævens Sorte Bibliotek, 1999. 144 pp. Hft. Illustreret. Pænt eksemplar.
Kirkegaards Antikvariat
kir59965
New York: Simon & Schuster, 2021. Hardcover w jacket. XIII, 443 pp. With illustrations. Very good copy. "A revelatory exploration of fashion through the ages that asks what our clothing reveals about ourselves and our society. Dress codes are as old as clothing itself. For centuries, clothing has been a wearable status symbol; fashion, a weapon in struggles for social change; and dress codes, a way to maintain political control. Merchants who dressed like princes and butchers’ wives wearing gem - encrusted crowns were public enemies in medieval societies structured by social hierarchy and defined by spectacle. In Tudor England, silk, velvet and fur were reserved for the nobility and ballooning pants called “trunk hose” could be considered a menace to good order. The Renaissance era Florentine patriarch Cosimo de Medici captured the power of fashion and dress codes when he remarked, “One can make a gentleman from two yards of red cloth.” Dress codes evolved along with the social and political ideals of the day, but they always reflected struggles for power and status. In the 1700s, South Carolina’s “Negro Act” made it illegal for Black people to dress “above their condition.” In the 1920s, the bobbed hair and form-fitting dresses worn by free-spirited flappers were banned in workplaces throughout the United States and in the 1940s the baggy zoot suits favored by Black and Latino men caused riots in cities from coast to coast. Even in today’s more informal world, dress codes still determine what we wear, when we wear it—and what our clothing means. People lose their jobs for wearing braided hair, long fingernails, large earrings, beards and tattoos or refusing to wear a suit and tie or make-up and high heels. In some cities, wearing sagging pants is a crime. And even when there are no written rules, implicit dress codes still influence opportunities and social mobility. Silicon Valley CEOs wear t-shirts and flip flops, setting the tone for an entire industry: women wearing fashionable dresses or high heels face ridicule in the tech world and some venture capitalists refuse to invest in any company run by someone wearing a suit". In Dress Codes, law professor and cultural critic Richard Thompson Ford presents an insightful and entertaining history of the laws of fashion from the middle ages to the present day, a walk down history’s red carpet to uncover and examine the canons, mores and customs of clothing—rules that we often take for granted. After reading Dress Codes, you’ll never think of fashion as superficial again—and getting dressed will never be the same.
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Kirkegaards Antikvariat
kir44068
Cologne: Evergreen, 2005. Heavy 8vo hardcover with slightly worn jacket. 440 pages. Overall a good to very good copy.
Kirkegaards Antikvariat
kir31824
Louisina Museum, 2010. Hardcover, with dustjacket. 136 pp. Richly illustrated. Text in English. Fine clean well preserved copy. First edition.
Kirkegaards Antikvariat
kir59442
Phaidon Press Ltd., 2011. Tall slim 4to in hardcover with fine protected jacket. Illustrated throughout in color. Tex in English. Clean and well preserved.
Kirkegaards Antikvariat
kir49361
Electa / Rizzoli New York, 1986 (1977 / 1973). Squarish 4to in wraps. 292 pages. With illustrations.Text in English. Dustjacket worn, and some edgewear else fine clean and tight copy. The classic Alberti monograph.
Kirkegaards Antikvariat
kir54736
Barcelona: Actar / Macba, 1999. Small 4to in flexible hardcover as issued. 205 pages, richly illustrated, mainly in color. Text in both French and Catalan. Near fine clean copy with only light shelfwear to corners of cover. From the collection of John Hunov, with his neat bookmark at front innercover. Fine monograph on Hains’ work: hypnagogic photographs, abstract photos made through fluted glass in the late 1940s, under a Surrealist influence to his decollage works and more. Ribbed glass, cinema and letterist poetry, Nouveau Réalisme – the décollage (unpeeling) of torn posters: a turning point but also one “site” among many others – which he regularly revisited. Urban dérives (“drifts”) took him ever closer to Situationism and, after the ads and billboards, he next collected and displayed boarding fences from construction sites (palissades). The first time the term décollage appeared in print was in the Dictionnaire Abrégé du Surréalisme in 1938, it is usually used in the context of nouveau réalisme. The artists involved, Raymond Hains among them, often sought out sites with many layers of posters so that the process of décollage took on an archeological character and was seen as a means of uncovering historical information. They exhibited their ripped poster artworks as aesthetic objects and social documents. From 1949 Hains made work from posters that he tore from the walls of Paris. In 1963 the German artist Wolf Vostell appropriated the term, staging a series of happenings under the title Nein 9 Decollagen which involved television images which he had ‘décollé’ unstuck from the screen and re-presented.
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Kirkegaards Antikvariat
kir59298
Publisher: Serpent's Tail, London, 2000. Squarish in softcover, as issued. XXXII, 231 pp. Illustrated. Very good clean copy. "n 1998, the Spice Girls were barred from the No. 1 spot by Run DMC. Rap is back. Rap is a form of music and spoken rhyme which first came to prominence in 1979 through The Sugarhill Gang's chart hit Rapper's Delight. Rap, along with all the other features of hip hop culture, originated in New York's Harlem and the South Bronx. This book takes hip hop culture as its central focus for an investigation of African-American rapping in all its forms. It begins with the music's African roots and ends with the global acceptance of rap as both commercial pop genre and voice of rage, a journey which encompasses West African griots, doo wop groups, jazz singers like Slim Gaillard, soul rappers from Millie Jackson to James Brown, old-school rappers Grandmaster Flash and Afrika Bambaataa, new-school rebels like Roxanne Shante and Run DMC, all the way to Public Enemy, De La Soul, NWA, the pop rap of MC Hammer and Vanilla Ice and the gangstas Tupac Shakur, Notorious BIG, Puff Daddy and Snoop Doggy Dog".
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Kirkegaards Antikvariat
kir57927
Oxford University Press, 2010. XI, 456 pp. Very good clean copy.
Kirkegaards Antikvariat
kir02481
H. Hirschsprungs Forlag, 1963. Originalt hæftet omslag med smudsomslag. 116 pp. Illustreret. Inklusiv EP-plade i lomme. Dette eksemplar ganske velholdt, samt vedlagt en håndskrevet hilsen fra Sven Møller Kristensen : "Kære Steffen Fisker! / Saa vidt jeg husker, laante De i sin tid / nogen Jazz-etuder af mig... " osv. om tilbagelevering af disse, underskrevet og poststemplet 1944.
Kirkegaards Antikvariat
kir28783
Kunst og Kultur, 1948 til 1949. Alle hefter upaginerede og rigt illustrerede i s/h og farver. Lidt brugsspor. nr.1: Signeret træsnit af Carin Steenberg. Nr.2: "Parabel" af W. Heinse med orig. radering af Hans Chr. Høier. Nr.3: Typografi af Kai Pelt. Nr.4: bl.a. typografi af Viggo Naae.
Kirkegaards Antikvariat
kir44263
Copenhagen: Kunstakademiet /& Royal Danish Academy of Fine Arts, 2000. 8vo. Stiff wraps as issued. 213 pages. Texts in English. Illustrated b/w. Some wear to cover, else clean and fine copy. Texts on sculpture by Smithson, Chillida, LeVitt, Judd and many others.
Kirkegaards Antikvariat
kir55780
University of Minnesota Press, 1998. 8vo. Paperback. XIII, 349 pp. With bw illustrations. Pencil notes in first part of book. Overall a very good copy. First edition, softcover: "An examination of the social and cultural significance of body art (...) The past few years have seen an explosion of interest in body art, in which the artist's body is integral to the work of art. With the revoking of NEA funding for such artists as Karen Finley, Tim Miller, and others, public awareness and media coverage of body-oriented performances have increased. Yet the roots of body art extend to the 1960s and before. In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts. Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on the work of Ana Mendieta. Moving to an examination of the reception of Jackson Pollock's "performative" acts of painting, she argues that Pollock is a pivotal figure between modernism and postmodernism. The book continues with explorations of Vito Acconci and Hannah Wilke, whose practices exemplify a new kind of performance that arose in the late 1960s, one that represents a dramatic shift in the conception of the artistic subject. Jones then surveys the work of a younger generation of artists -- including Laurie Anderson, Orlan, Maureen Connor, Lyle Ashton Harris, Laura Aguilar, and Bob Flanagan -- whose recent work integrates technology and issues of identity to continue to expand the critique begun in earlier body art projects. Embracing an exhilarating mix of methodologies and perspectives (including feminism, queer theory, philosophy, psychoanalysis, and literary theory), this rigorous and elegantexamination of body art provides rich historical insight and essential context that rethinks the parameters of postmodern culture.ect continues to confirm the opinion of many that Jones is the most perceptive and original voice in contemporary art history, theory, and criticism to have emerged in a generation".
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Kirkegaards Antikvariat
kir47825
North, 1977. 4to. (12) pp. Rigt illustreret. Med indlagt håndskrevet hilsen fra Kasper Heiberg til vennen, fotografen Poul Pedersen.
Kirkegaards Antikvariat
kir59482
Orion Books, 2008. Hardcover, w jacket. 471 pages. Fine copy.
Kirkegaards Antikvariat
kir59547
New York: Alfred A. Knopf / A Borzoi Book. 1946. Publisher's hardcover boards, no dustjacket, gilt title. 470pp. Only light wear to cover, overall a very good clean copy . First American edition, 1st printing thus. Independent People: An Epic (Icelandic: Sjálfstætt fólk / Danish "FRIE FOLK") is a novel by Nobel laureate Halldór Laxness, originally published in Iceland in two volumes in 1934 and 1935. It deals with the struggle of poor Icelandic farmers in the early 20th century, only freed from debt bondage in the last generation, and surviving on isolated crofts in an inhospitable landscape. One of the greatest Nordic classics and still the most beloved piece of Icelandic literature in the world after the sagas, it is an epic tale about a poor farmer's struggle to achieve independence and freedom and about everything he must sacrifice to be able to pursue his goal to the bitter end.
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Kirkegaards Antikvariat
kir57527
Cambridge University Press, 2001. Softcover as issued. XIII, 368 pp. With illustrations bw. Very good copy, no name and no markings. 1st edition. From the series Cambridge Studies in Renaissance Literature and Culture, # 38. "During the late sixteenth century 'fashion' first took on the sense of restless change in contrast to the older sense of fashioning or making. As fashionings, clothes were perceived as material forms of personal and social identity which made the man or woman. In Renaissance Clothing and the Materials of Memory Jones and Stallybrass argue that the making and transmission of fabrics and clothing were central to the making of Renaissance culture. Their examination explores the role of clothes as forms of memory transmitted from master to servant, from friend to friend, from lover to lover. This book offers a close reading of literary texts, paintings, textiles, theatrical documents, and ephemera to reveal how clothing and textiles were crucial to the making and unmaking of concepts of status, gender, sexuality, and religion in the Renaissance".
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Kirkegaards Antikvariat
kir52401
Koenig Books, 2009. 8vo in black wraps as issued. 206 pages, richly illustrated. Text in English. Fine clean copy. First edition. Elke Krystufek, Dorit Margreiter and Franziska & Lois Weinberger. All have developed new works for the Austrian pavilion. Each of these artistic positions deals with a specific theme, and while their art differs greatly, they all share a structural approach, which critically questions the orders determining social aspects of our lives, our culture and politics. Elke Krystufek condenses several themes in her painting installation TABOU TABOO (2009): Polynesia, the mythical place as it was conceived and conveyed in Modern European art, and the issue of a specifically “female gaze”. The title TABOU TABOO is a reference to the film “Tabu” by F. W. Murnau and further to Sigmund Freud’s “Totem und Tabu”. Krystufek replaces the word “Austria” on the outside of the pavilion with the word “Tabu”, and thus attacks the identity of the building. Dorit Margreiter‘s work Pavilion (2009) is a film dealing with the place of its production and its mis-en-scène: the pavilion constructed by Austrian architect Josef Hoffmann, opened 1934 in the Giardini of Venice. Margreiter explores the pavilion as an utopian space of art, forming an architectural sculpture in itself. Pavilion is a grainy black-and-white film with a surreal quality. Its staged rendition at the actual site mirrors the pavilion in its space and in time, it is a projection of itself onto itself. Laubreise (2008/09) by Franziska & Lois Weinberger is an outside piece, an accessible architectural sctructure located between pavilion and canal which houses an object inside. Laubreise as well as other works by F. & L. Weinberger deal with the relationship between “nature” and “culture”; their work is about the subtle „peripheries of perception” of an “invisible nature / spiritual nature” (L. Weinberger). Inside the pavilion an installation gives insight into Weinberger’s work from 1976 until today.
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Kirkegaards Antikvariat
kir60070
Thames and Hudson, 2011. 4to. Original blue hardcover boards withdustwrapper. 247 pages, with coloured and b&w illus throughout. Text in English. Very good copy. 1. edition.
Kirkegaards Antikvariat
kir57265
New York, Garden City: Doubleday and Co., (1958). 8vo. Hardcover with unclipped only slightly worn dustjacket, kept in protective mylar sleeve (see photos). 212 pages. Original $4.00 price intact on DJ flap. National Book Award sticker affixed to front cover of jacket. Clean and overall very good copy. First edition, 1st or early printing copy with correct price on DJ flap but no statement of 'First Edition' on copyright page.
Kirkegaards Antikvariat
kir59009
Durham & London: Duke University Press, 2015. 8vo. Paperback. XXI, 468 pp. Very good copy, unread. Microgroove continues John Corbett's exploration of diverse musics, with essays, interviews, and musician profiles that focus on jazz, improvised music, contemporary classical, rock, folk, blues, post-punk, and cartoon music. Corbett's approach to writing is as polymorphous as the music, ranging from oral history and journalistic portraiture to deeply engaged cultural critique. Corbett advocates for the relevance of "little" music, which despite its smaller audience, is of enormous cultural significance. He writes on musicians as varied as Sun Ra, P.J. Harvey, Koko Taylor, Steve Lacy, and Helmut Lachenmann; and among other topics, he discusses recording formats, investigates the relationship between music and visual art, dance, and poetry, and with Terri Kapsalis, analyzes the role of female orgasm sounds in contemporary popular music. Above all, Corbett privileges the importance of improvisation; he insists on the need to pay close attention to “other” music, and celebrates its ability to open up pathways to new ideas, fresh modes of expression, and unforeseen ways of knowing.
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Kirkegaards Antikvariat
kir43143
New York: Random House, 1975. Hardcover with slightly worn but unclipped jacket. 415 pages. A small "Random House" publisher stamp to bottom edge. Inside clean. First edition, 2nd printing including the original dustjacket.