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Kirkegaards Antikvariat
kir52098
Published by Künstlerhaus Bethanien, Berlin 2007. 8vo hardcover, no jacket as issued. 281 pp. Text in both German and English. Illustrated. Fine clean copy. 1st edition. Texts by Eric Andersen, Andrea Bátorová, György Galántai, Milan Knížák, Vytautas Landsbergis, Pavlína Morganová, Luiza Nader, Maria Anna Potocka, Tamás St. Auby Petra Stegmann & Emmett Williams.
Kirkegaards Antikvariat
kir50437
New York: Primary Information, 2006. 4to large paperback as issued. XVII, 313 pages, plus index. Upper spine with superficial wear, and lower right corner (s) a bit dog-eared else very good clean and tight copy. First printing thus. - "Writings and artists' projects from Real Life magazine, a seminal 1980s periodical edited by the artist, writer and curator Thomas Lawson and writer Susan Morgan. Published in 23 intermittent black-and-white issues from 1979-1994, Real Life was devoted to providing an outlet for a circle of artists who did not feel properly represented in the mainstream art world at the time--many of whom are now grouped with the Pictures and Post-Pictures artists. The anthology features both artists and art historians writing on art, media and popular culture--oftentimes infusing a new kind of humor into their cultural critiques--as well as original pictorial contributions. It includes writings by and about Eric Bogosian, Kim Gordon, Dan Graham, Barbara Kruger, Thomas Lawson, Allan McCollum, John Miller, Matt Mullican, Richard Prince, David Robbins, Michael Smith, Ed Ruscha, Jeff Wall and Lawrence Weiner, to name a few, as well as visual projects by Sherrie Levine, James Welling, Felix Gonzalez-Torres and Group Material, among others."
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Kirkegaards Antikvariat
kir57330
Cambridge at the University Press, 1965. Two vols in publishers red clothed hardcovers with gilt titles. XI, 422, VIII, 248 pp. A bit of edgewear else a clean set, very well preserved, no stamps, notes or markings. First edition (s).
Kirkegaards Antikvariat
kir58399
Koenig Books, London (Artforum Series 3), 2011. Square 4to in softcover, as issued. 168 pages, profusedly illustrated qith German/French/English text. Fine clean copy. Michael Riedel's artists book "Perlstein" continues the series of publications (Oskar, 2003; Tirala, 2006; Meckert, 2009; amongst others), which are published as independent works parallel to his exhibitions. His texts are often generated from unedited transcriptions of recordings that he frames through a set of predetermined circumstances. He labels these works text productions. Perlstein includes a transcript of a talk given by the artist at various venues between 2009 and 2011. His talk provides a broad overview of his publishing activities, beginning with the paper bag he wore during a lecture at the Städelschule, Frankfurt, in 1997 to his most recent catalogue The quick brown fox jumps over the lazy dog. Riedel s talk is given as a PowerPoint presentation, which lasts approximately 45 minutes and shows 370 images. The illustrations included in the book are screen shots taken during the PowerPoint presentation at intervals when the slides changed. The choice of the transitions took place automatically and randomly" . Riedel is born 1972 in Rüsselsheim, Germany, Prof. for painting and graphic at Hochschule für Grafik und Buchkunst Leipzig, Germany.
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Kirkegaards Antikvariat
kir51855
Detroit: The Gilbert and Lila Silverman Collection & Roskilde Museum of Contemporary Art, 2008. Tall 4to in publishers stiff wraps as issued. 230 pages. Richly illustrated, partly in color. Text in English. As new copy. First edition. The catalogue includes new, original texts by Eric Andersen, Anna Dezeuze, Letty Eisenhauer, Yoko Ono, and Susanne Rennert, as well essays by Marianne Bech and Jon Hendricks. La Monte Young has written a separate text, to be published in conjunction with the exhibition. The exhibition included work by: Bengt af Klintberg, Eric Andersen, Arman, Ay-O, Joseph Beuys, Michael von Biel, George Brecht, Sylvano Bussotti, John Cage Giuseppe Chiari, Henning Christiansen, Philip Corner, Robin Crozier, Walter de Maria, Willem de Ridder, Marcel Duchamp, Nye Ffarrabas, Robert Filliou, Albert M. Fine, Fluxus Collective, Hi Red Center, Geoff Hendricks, Dick Higgins, Toshi Ichiyanagi, Terry Jennings, Yves Klein, Milan Knizak, Alison Knowles, Addi Køpcke, Takehisa Kosugi, Shigeko Kubota, Györgi Ligeti, Jackson Mac Low, George Maciunas, Yoriaki Matsudaira, Pierre Mercure, Heinz-Klaus Metzger, Yoko Ono, Robin Page, Nam June Paik, Benjamin Patterson, James Riddle, Terry Riley, Tomas Schmit, Dieter Schnebel, Paul Sharits, Mieko Shiomi, Daniel Spoerri, Karlheinz Stockhausen, James Tenney, Yasunao Tone, Ben Vautier, Wolf Vostell, Robert Watts, Emmett Williams, La Monte Young, George Yuasa and Marian Zazeela.
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Kirkegaards Antikvariat
kir60115
Eks-skolens trykkeri, København September 1970. 4 sider. Velbevaret. Extremely rare! One of the 48 original issues of the Danish avantgarde artist magazine, the "newspaper" HÆTSJJ (Haetsjj = "Kerchoo") published between 1968 and 1970, this copy from September 1970. This issue deals with the "happening" at Hjardemål 31st August 1970 - the occupation or liberation of Hjardemål Church, which is close to the Thy camp - by Bodil Marie Nielsen, Peter Louis Jensen, Lene Adler Petersen, Bjørn Nørgaard among others. - The magazine is an example of what Nylen describes, and with most of the mentioned elements featured in it - "From the start of the Campaign for Nuclear Disarmament and the public events staged by the situationists and Fluxus in the early 1960s, symbolic actions in public spaces became the focus of political movements, youth culture and the arts. Collective action became the favoured mode of the 1960s, not only in political movements but also in the communes formed by young people who wanted alternative lifestyles, or just an affordable place to live, and in, for instance, popular music, where the rock group took the place of the individual pop star, as well as in art collectives, which organised their own schools (such as the Ex-School in Copenhagen) or assembled to produce little magazines, experimental films or utopian societies, animated by the do-it-yourself style of the new youth culture. For a moment in the second half of the ’60s it seemed possible for the politi-cal movements, the youth culture and the avant-garde to merge and create a huge wave of change that would permanently transform society. The Swedish writer Leif Nylén has described how these three movements overlapped in Sweden: The political students’ movement had its emotional background in the youth revolt, and any political demonstration would be full of Dylan lovers and Beatles fans. Young avant-garde artists were attracted to the concerts and dance halls of the youth culture, where the distinction between high and low culture would dissolve in a way that had been the aim of the avant-garde movements ever since the discussions of cultural democracy and the culture wars of the early 1960s. And the simple pop and rock music of the early 1960s developed into more sophisticated and experimental music which fused with the avant-garde scene".
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Kirkegaards Antikvariat
kir59297
Köln: Walther König, 2008. Small 4to in flexiboards as issued. 160 pages, richly illustrated. Text in English. Fine clean copy. 1st ed. "The Cologne Progressives rejected the connection between art and radical politics embraced by other movements, such as the Neue Sachlichkeit, concurrently active in Weimar Germany. This collection examines the movement, which was declared degenerate during the Nazi period, with an essay by Lynette Roth and illustrations of more than 100 works, some never published before".
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Kirkegaards Antikvariat
kir56926
Forlaget Swing, 1979. 59 pp. Hft. Rent og friskt eksemplar. Første udgave, 1. oplag. Omslag af Bjørn Nørgaard. Forfatterens måske hovedværk.
Kirkegaards Antikvariat
kir59076
Paris: HAZAN / Musées D'Orsay et de l’Orangerie , 2017. Tall 8vo in wraps as issued. 221, (2) pp. Richly illustrated, with text in French. Very good clean copy. "The artistic revolt of Dada, which arose in Zurich in the midst of the turmoil of the Great War in 1916, expressed a rejection of the traditional values ??of civilisation that had led to the disaster of that period. In this context, a re-evaluation of other systems of thought and creation took place, leading many avant-garde artists to consider and appropriate radically different types of artistic production. For the first time, and in cooperation with the Rietberg Museum in Zurich and the Berlinische Galerie, an exhibition was devoted to the confrontation of the Dadaists with the art and culture of non-European countries. The stagings of the "Soirées nègres" at the Cabaret Voltaire, appealing to all the senses and combining music, poetry and dance, attacked the very notion of art and called into question the artistic values ??that had prevailed until then. As early as 1917, the Coray Gallery in Zurich exhibited African objects side by side with Dadaist works. The same year, Tzara wrote his "Note sur l’art nègre", published in the journal SIC where he stated "from black let us draw light". The masks of Marcel Janco, the costumes of Sophie Taeuber-Arp, the collages of Hannah Höch or the collective works refusing the notion of author bear witness to this research for a new formal language. This multidisciplinary exhibition will allow us to confront non-Western works that are both African but also Amerindian or Asian with Dadaist productions, highlighting processes of exchange and appropriation by these artists. Dada paintings, sculptures, photocollages, photographs will be mixed with non-Western sculptures in games of resonances supported by the scenographic staging of the exhibition. The Parisian stage will also highlight the fertile ground pre-existing in the French capital for non-European arts and the way in which this was able to nourish the movement. Thus, the exhibition finds its place at the Musée de l’Orangerie, by highlighting the links between gallery owner Paul Guillaume and the actors gravitating around Dada and around African art at that time. The Orangerie stage will also open up on the importance that this subject could have had in the genesis of the links between the surrealist movement and non-Western arts".
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Kirkegaards Antikvariat
kir59597
Boston / Leiden: Brill, 2022. Original publishers hardcover. XVII, 447 pp. With illustrations. Fine clean, unread copy. First edition - from the series Textet: Studies in Comparative Literature, # 98. - "A Poetic History of the Oceans provides the reader with a stunning overview of how writers, sailors, painters, scientists, historians, and philosophers from across time and space have poetically envisioned the oceans and depicted human entanglements with the sea." What is the ocean’s role in human and planetary history? How have writers, sailors, painters, scientists, historians, and philosophers from across time and space poetically envisioned the oceans and depicted human entanglements with the sea? In order to answer these questions, Søren Frank covers an impressive range of material in A Poetic History of the Oceans: Greek, Roman and Biblical texts, an Icelandic Saga, Shakespearean drama, Jens Munk’s logbook, 19th century-writers such as James Fenimore Cooper, Herman Melville, Jules Michelet, Victor Hugo, Jules Verne, Jonas Lie, and Joseph Conrad as well as their 20th and 21st century-heirs like J. G. Ballard, Jens Bjørneboe, and Siri Ranva Hjelm Jacobsen. A Poetic History of the Oceans promotes what Frank labels an amphibian comparative literature and mobilises recent theoretical concepts and methodological developments in Blue Humanities, Blue Ecology, and New Materialism to shed new light on well-known texts and introduce readers to important, but lesser-known Scandinavian literary engagements with the sea.
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Kirkegaards Antikvariat
kir54379
New York: Something Else Press, 1969. Publishers original hardcover with well preserved and unclipped dustjacket. Fine yellow endpapers and topedge in green matching the binding. XXIII,158 pages, with scores. Jacket faded else a fine, clean and well preserved copy. First edition of this beautifully made revised version. Since its original publication in 1930, Henry Cowell's New Musical Resources has become recognized as one of the few seminal technical studies to be written by a twentieth-century composer - "The purpose is to point out the influence the overtone series has exerted on music throughout its history" Cowell states in his introduction. Henry Cowell, in full Henry Dixon Cowell (1897-1965) American composer who, with Charles Ives, was among the most innovative American composers of the 20th century. Cowell grew up in poverty in San Francisco and on family farms in Kansas, Iowa, and Oklahoma. He acquired a piano at age 14, and the following year he gave a concert of his experimental piano compositions. At 17 he studied at the University of California with the influential musicologist Charles Seeger, who persuaded him to undertake the systematic study of traditional European musical techniques. He also urged Cowell to formulate a theoretical framework for his innovations, which he did in his book New Musical Resources (1919; published 1930), an influential technical study of music. While studying comparative musicology in Berlin with Erich von Hornbostel, Cowell became interested in the music of other cultures; he later studied Asian and Middle Eastern music, elements of which he absorbed into many of his own compositions. In 1923–33 Cowell undertook a series of tours of Europe as composer and pianist. Many of his concerts provoked uproar, but they also brought him to the attention of leading modern European composers. He taught at the New School for Social Research in New York City in 1932–52 and, from 1949, at Columbia University. From 1936 to 1940 he was incarcerated in San Quentin state prison on charges of homosexual conduct. He continued to write music while in prison, and in 1940 he was paroled to the custody of composer Percy Grainger. Cowell was granted a full pardon in 1942. Cowell’s innovations appear particularly in the piano pieces written between 1912 and 1930. Seeking new sonorities, he developed “tone clusters,” chords that on the piano are produced by simultaneously depressing several adjacent keys (e.g., with the forearm). Later he called these sonorities secondal harmonies—i.e., harmonies based on the interval of a second in contrast to the traditional basis of a third. These secondal harmonies appear in his early piano pieces, such as The Tides of Manaunaun (1912); in his Piano Concerto (1930); and in his Synchrony (1931) for orchestra and trumpet solo. Some of his other piano compositions, such as Aeolian Harp (1923) and The Banshee (1925), are played directly on the piano strings, which are rubbed, plucked, struck, or otherwise sounded by the hands or by an object. Cowell’s Mosaic Quartet (1935) was an experiment with musical form; the performers are given blocks of music to arrange in any desired order. With the Russian engineer Leon Theremin, Cowell built the Rhythmicon, an electronic instrument that could produce 16 different simultaneous rhythms, and he composed Rhythmicana (1931; first performed 1971), a work specifically written for the instrument. Cowell wrote numerous pieces reflecting his interest in rural American hymnology, Irish folklore and music, and non-Western music. In order to publish the scores of modern composers, he founded the New Music Quarterly in 1927 and was its editor until 1936. He also edited American Composers on American Music (1933) and with his wife, Sidney Cowell, wrote Charles Ives and His Music (1955). A number of well-known American composers, including John Cage, Lou Harrison, and George Gershwin, studied with and were influenced by Cowell.
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Kirkegaards Antikvariat
kir53248
Amsterdam: Manifesta Foundation / Silvana, 2011. 8vo in wraps as issued. 112 pages. Richly illustrated. Fine clean and complete copy.
Kirkegaards Antikvariat
kir59548
Denmark: 1963. Squarish 8vo in photo illustrated wrappers, as issued. 72 unpaginated pages illustrated throughout with black-and-white illustrations, mostly full page Text in German, Danish, French and English by Gertie Wandel, Povl Christiansen et el. Minor shelf wear and crease to front corners (see photos). Interior unmarked and clean. In all a very good copy. Joint sales exhibition catalogue of hand-made furniture by members of the cabinet-makers guild 1963. 1st edition. Uncommon.
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Kirkegaards Antikvariat
kir59376
Socle du Monde Herning, Denmark, 2004. 8vo. 15 booklets, illustrated with Danish and English texts by the artists. Complete. In original box. Well preserved. "This artist''s publication was put together at communications bureau IB&CO, Ikast. The project was organized by Jacob Fabricius for the 2004 edition of the art biennial ''Socle du Monde'' a tradition of artists collaborating with local industries, initiated by the shirt manufacturer Aage Damgaard who invited Piero Manzoni to work there in the 1950s. Herning Kunstmuseum still has one of the world''s finest Manzoni collections, including the Socle du Monde." -- artist''s statement. From the Goodiepal collection with the artists signature to box cover, see photos. Due to the weight and the fragility of the box for this publication additional shipping charges will be required for international orders.
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Kirkegaards Antikvariat
kir37410
Los Angeles: Melrose Publishing Co., 1983. Squarish hardcover in original somewhat worn slipcase. Illustrated with 87 full page color photographs. Finely printed. Iconic nude pictures of women, very staged, very 1980's. First edition.
Kirkegaards Antikvariat
kir58675
København, J.P. Madsen Linds Forlag,1912. Med 2 udfoldelige modeller. En del af tavle ligger løs (tarme) ellers velbevaret. Originaludgave.
Kirkegaards Antikvariat
kir48234
Washington: American Institute of Architects (A.I.A.), 1966 or 1965 ?. Folio size magazine paper. 20 pages. Illustrated with b/w photos by Peter Young et al. Light edgewear, overall well preserved and clean. 1st printing. Rare item. 'No Time for Ugliness' was also made into a film. Publication and film makes the case for better cities, better neighborhoods, and less suburbia, warning about the uniformity of the American suburb and the thoughtless environment that results from car-related development.
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Kirkegaards Antikvariat
kir48039
London: Lisson Gallery / Galerie Yvon Lambert, 2003. Small 4to in stiff wraps as issued. 160pp. Profusely illus. mainly in colour. Fine, with only the most minimal edgewear. Complete with inserts. First edition.
Kirkegaards Antikvariat
kir54575
Bard College Publications / Center for Curational Studies, 1997. 8vo in golden wraps as issued. 179 pages, illustrated. Text in both Spanish, Portuguese and English. Light shelfwear only else clean and tight fine copy. First edition. Fine monograph on Tunga - Antonio José de Barros Carvalho e Mello Mourão (1952-2016), the Brazilian sculptor and performance artist.
Kirkegaards Antikvariat
kir59585
London: Collins Harvill, 1994. Publishers hardcover w jacket. XI, 285 pages. Dustjacket priceclipped else well preserved attractive clean copy First UK edition. A Void, translated from the original French La Disparition (lit. "The Disappearance"), is a French lipogrammatic novel, written in 1969 by Georges Perec, entirely without using the letter e, following Oulipo constraints. Perec would go on to write with the inverse constraint in Les Revenentes, with only the vowel “e” present in the work.
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Kirkegaards Antikvariat
kir57184
London: George Allen & Unwin, 1939 (1938). Publishers clothed hardcover with gilt title and red topedge. No dustjacket. VIII, 546 pp. From a private collection with the names of previous owners to inner front cover. Light wear to edges and a couple of feeble barely visible pencil notes to the first 20 pages else clean and overall a very good copy. Originally published in the US 1938 by Henry Holt: this is the first UK edition identical in content with the American first.
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Kirkegaards Antikvariat
kir59904
London: The Hogarth Press, 1956, 1957, and 1958. 3 vols in the original uniform blue clothed hardcovers with gilt titles, no dustjackets. 454; 534, 536 pp. Clean solid set. Volume 3 is in first edition. In all a good to very good set. The great classic biography of Freud and his life, first surpassed by Peter Gay's work - and still respected by many, including Peter Gay himself. Extra shipping may apply - please inquire.
Kirkegaards Antikvariat
kir56303
Strandberg Publishing, 2023. Hardcover. 316 pp. Richly illustrated. New, unopened copy. 1st ed. "Hailed as one of the most significant figures of early Modernism and at the same time condemned for his work and his moral – the discussion about Gauguin, his art and his character is still relevant today. Especially at a time where #MeToo is shedding new light on Gauguin’s relationship with adolescent girls and his share in colonialism in French Polynesia. ‘Gauguin – The Master, the Monster and the Myth’ is the first in-depth biography about the artist written by a Danish writer. The publication shares new insights about Gauguin – about his complex character as an artist and a human being. It challenges the traditional ideas we have about his life and work. Flemming Friborg unfolds the fascinating story about Gauguin’s life and the millieu of Impressionism that he was a part of but also at the same time distinguishing himself from. The book shows how his method and moral was bound in a carefully maintained, personal brand and therefore the master and the monster must be seen as inseparable – and therefore, as a result of this, Gaugain’s legacy and status as a genius artist remains unclear.". - Flemming Fribog (b. 1965) is an Art Historian and Associate Professor at CBS (Management, Politics and Philosophy). From 2002-17 he was director of Ny Garlsberg Glyptotek. He has been awarded several Danish and international orders such as the N.L. Høyen medal from the Royal Danish Academy of Fine Arts and the honourable order L’ordre ministériel des Arts et des Lettres presented by the French Ministry of Culture.
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Kirkegaards Antikvariat
kir59433
London: Ivor Nicholson and Watson, 1936. Green clothed hardcover boards with titles to spine, no dustjacket. 350 pages. With plates. Binding a bit rubbed with a little soiling (see photo). Hinges a bit week, some foxing to topedge and endpapers. Overall a good acceptable copy. First edition. Elinor Glyn (née Sutherland 1864 –1943) was a British novelist and scriptwriter who specialised in romantic fiction, which was considered scandalous for its time Glyn pioneered risqué, and sometimes erotic, romantic fiction aimed at a female readership, a radical idea for its time. She became an upholder of women's right to explore and articulate their own sexuality. In her novel The Man and the Moment (1914), she coined the use of the word it to mean a characteristic that "draws all others with magnetic force. With 'IT' you win all men if you are a woman–and all women if you are a man. 'IT' can be a quality of the mind as well as a physical attraction." Her use of the word is often erroneously taken to simply be a euphemism for sexuality or sex appeal. She had intimate knowledge of the decor and haute couture of the courts of Europe and this was a part of the Glyn author persona which she cultivated and publicly projected. She had genuinely seen the courts of Russia, Spain, Britain and Egypt, and had circulated in high society in France and the United States. With such knowledge, Glyn was called on by radio presenters, magazine editors, chairs of women's associations and others to speak and entertain their audiences. She was asked to talk on etiquette and romance, on marriage and on beauty; her advocacy of sexual freedoms and discussions of marriage and divorce meant that she was a popular speaker. The press noted where she went, what she wore and what she was saying. Her opinions made the headlines. During World War I, Glyn became a war correspondent, working in France. At the signing of the Treaty of Versailles, 28 June 1919, Glyn was one of only two women present.
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Kirkegaards Antikvariat
kir60103
Ten Speed Press, 2008. Squarish 4to hardcover, w jacket. 200 pages, richly illustrated in color. Light exterior wear, with some rubbing to edges (see photos). First Printing (stated). "Fired in the kilns of Arita, Japan, eight miles south of the seaport town after which it was named, Imari porcelain is distinguished by the beautiful visual effects produced by its blue underglaze and color overglaze enamels. In THE STORY OF IMARI, author Goro Shimura describes the cultural and historical significance of these prized porcelain bowls, plates, vases, teacups, and other wares. Examining the artistry and stories behind specific pieces, Shimura analyzes their glazes, patterns, motifs, and functions, weaving in tales of emperors, tea ceremonies, cranes, surfing rabbits, and more. This is Imari in all its colorful glory, from the grandest histories to the smallest details. A richly photographed history of the culture and folklore of Imari, a distinctive style of antique ceramics from Japan. Features more than 150 rare and collectible pieces from 1600 to 1830."
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