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Kirkegaards Antikvariat
kir59782
Gyldendal, 2018. 186 pp. Hft. Pænt eksemplar. 1. oplag. Omsalag ved Hannah Heilmann.
Kirkegaards Antikvariat
kir50769
Louisiana Museum of Modern Art, 2014. 4to. 95 pp. Hft. Rigt illustreret. Dansk udgave. Pænt eksemplar.
Kirkegaards Antikvariat
kir23904
Brøndum, 1983. 46 sider. Hæftet med smudsomslag. Pænt eksemplar.
Kirkegaards Antikvariat
kir23296
Routledge paperback, 2000 (1956). XLIII, 638 pp. A couple of notes to first pages else very good copy. The Complete Text.
Kirkegaards Antikvariat
kir50235
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. "
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Kirkegaards Antikvariat
kir58144
Cambridge: MIT press, 2001 (2000). Softcover. IX, 301 pp. Edgewear but clean and tight copy. How psychological ideas of space have profoundly affected architectural and artistic expression in the twentieth century: Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience—perhaps even the subject itself—of architecture.
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Kirkegaards Antikvariat
kir59464
Gyldendals Bekkasinbøger, 1966. 178 sider. Hft. Omslag af Austin Grandjean - samt smudsomslag med Jesper Høm still foto fra filmatiseringen af Henning Carlsen. Navn og små ydre brugsspor. Filmudgave.
Kirkegaards Antikvariat
kir46372
London & New York: Verso Books, 2003 (2002). Paperback. XV, 176 pp. With illustrations. Some wear to cover, else good clean copy.
Kirkegaards Antikvariat
kir39556
Denmark: Louisiana Museum of Modern Art, 1992. Small quarto in tiff wrappers. 54 pp. Illustrated richly in color. Texts in both Danish and English. Fine. 1. ed.
Kirkegaards Antikvariat
kir00762
Gyldendal, 1949. 131 pp. Hft. Anden reviderede udgave. Heri bl.a. 'Sangen om migselv'. Pænt eksemplar.
Kirkegaards Antikvariat
kir59885
Vintage Paperback, 2023. 232 pp. Very good clean copy.
Kirkegaards Antikvariat
kir09582
Holte, 2000. Tvær8vo. Original kartonbind. 48 pp. Illustreret i farver. Med tekst af bl.a. Per Kirkeby. Book design by Michael Jensen. First edition.
Kirkegaards Antikvariat
kir48367
Forlaget Rosinante, 2020. 174 pp. Hft. Mindre brugsspor.
Kirkegaards Antikvariat
kir02221
Blackwell Paperback, 1986. VII, 327 pp. Wear to cover. Name.
Kirkegaards Antikvariat
kir32295
Penguin Paperback, 1984. XVI, 396 pp. The Purple Decades brings together the author's own selections from his list of critically acclaimed publications, including the complete text of Mau-Mauing and the Flak Catchers. " (...)a sociologist's dream: a time capsule of ideas and idioms, brand names and places, cult heroes and calling cards." -Ellen Wilson, The Wall Street Journal.
Kirkegaards Antikvariat
kir53697
London, Anthony Blond 1969. Small 4to hardcover in red buckram covers with gilt vignette decoration to front and gilt title. 48 pages. Name to inner cover front else well preserved and clean, attractive copy in a unclipped jacket. First trade edition. A lightly written naughty pastiche on Edwardian society's standard reaction of horror to sex and sexual deviation. Two upper class Edwardian seventeen year old girls write letters to each other, pledging to discover all they can about the manifold mysteries of sex, and report their discoveries to each other. Esmeralda is the country girl and Ermyntrude lives in London. Edwardian young ladies fresh from school and resolved to discover for themselves the forbidden mysteries and in these letters they tell all. Lytton Strachey's entertainment, was written for the private relish of his circle and only published posthumously.
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Kirkegaards Antikvariat
kir52678
Kbh., Apartment One, 1998. 8vo. 62 pp. Gennemillustreret. Med en tekst af Lars Bang Larsen. Hft. 1. oplag.
Kirkegaards Antikvariat
kir54893
Signet paperback, 1954. 239 pp. First printing thus. With the name of Kells Elvins handwritten to innercover, and dated 1958. Charming copy with an interesting provenance: This copy has belonged to and is signed by Kells Elvins (1913-1961), best friend of William S. Burroughs and who co-wrote "Twilight's Last Gleamings" and ignited Burroughs writings that would become Junky.
Kirkegaards Antikvariat
kir16329
London: Faber & Faber, 1945 (1936). Original cloth with a worn dustjacket. XV, 152 pp. Illustrated. With plates. Name to free front endpaper, and a few scattered underlinings with a red pencil, not to bad - overall a good solid copy. 2nd edition with a complete revision of text and an additional essay on Hogarth and new illustrations. First edition thus.
Kirkegaards Antikvariat
kir40545
Aristo Bogforlag, 2005. Tvær-8°. Hardcover. Upagineret. Gennemillustreret i med fotografier i farver og s/h. Lidt kantslidt ellers pæn. 1. edition.
Kirkegaards Antikvariat
kir57846
MIT Press, 2001. 8vo in publishers wraps. 133 pp, w black and white illustrations. Clean, near fine copy.
Kirkegaards Antikvariat
kir52392
Milano: In Art - Ierimonti Gallery, 1995. 8vo in wraps as issued. 112 pages. Richly illustrated with text in both English and Italian. Light edgewear to cover else clean and fine.
Kirkegaards Antikvariat
kir59808
Asterisk Forlag / Udstillingsstedet Sydhavn Station 2012. Stor brun A4 konvolut med 10 printede ark papir (= komplet). Dette eksemplar har været åbnet. 1. oplag. "Efterår" er en række værker på løse papirark, der som efterårsblade hvirvler rundt om emner som tab af kontrol, melankoli, kultiske sten og meget mere. De sort/hvide værker benytter sig af medier som tekst, foto, tegning og grafik. Efterår består af konvolut med 10 printede ark papir (= komplet). "Efterår" udgør nr. 53 af det eksperimenterende kunsttidsskrift *[asterisk].
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Kirkegaards Antikvariat
kir43942
Hans Reitzel, 1985. 237 sider. Hft.
Kirkegaards Antikvariat
kir57016
Paris: Editions Jacques Melot 1946. 8vo. broché. 165 Couverture en état d'usage( 'scotchée). Presumably the first edition. Rather worn to covers and enforced with scotch (see photo). Uncut and inside clean. Overall acceptable and suited for rebinding. L’intelligence d’une machine was published in January 1946, after more than a tenyear hiatus due to the war, when Epstein had to go in hiding. While the topic reflected in the title of the book had been a constant preoccupation throughout Epstein's previous writings, this text pursues in depth topics that will remain central to all his later publications. He here approaches cinema as a philosophy of time and space more consistently than before, and methodically construes arguments in the field of physics, mechanics, and thermodynamics. Quote from The Philosophy of the Cinematograph: "Cinema is one of these intellectual robots, still partial, that fleshes out representations – that is to say, a thought – through photo-electrical mechanics and a photo-chemical inscription. One can here recognize the primordial frameworks of reason, the three Kantian categories of space, duration, and causality. This result would already be remarkable if cinematographic thought only did what the calculating machine does, to constitute itself in the servile imitation of human ideation. But we know that the cinematograph, on the contrary, marks its representation of the universe with its own qualities, with an originality that makes this representation not a reflection or a simple copy with conceptions, of an organic mentality-mother, but rather a system that is individualized differently, partly independently, which contains the incitements for a philosophy so far from common opinions, the doxa, that one should perhaps call it an anti-philosophy." (transl. by Trond Lundemo).
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