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Kirkegaards Antikvariat
kir60098
Éditions Albert Morancé, Paris and Illums Bog-Afdeling / Fishers Forlag, Copenhagen 1935. 4°. Bound in a good very solid private hardcover w gilt title. 45 pages text and 64 fine full-page b/w-plates. Excellent clean attractive copy. First edition.
Kirkegaards Antikvariat
kir38160
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 First edition of the landmark anthology collecting for the first time the key historical documents that helped give definition and purpose to the conceptual art movement : "Compared to other avant-garde movements that emerged in the 1960s, conceptual art has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 This landmark anthology collects for the first time the key historical documents that helped give definition and purpose to the movement.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 These influential documents are gathered here for the first time, along with a number of previously unpublished essays and interviews.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.
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Kirkegaards Antikvariat
kir55595
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!
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Kirkegaards Antikvariat
kir58853
Sovetakan grokh (Grogh), Armenia, 1988. 8vo. Original hardcover with dustjacket. 255 pages. Text in Russian. Illustrated. Well preserved. First edition - INSCRIBED by Peleshian to Danish film director and critic Chr. Braad Thomsen, dated 1990. - Artavazd Peleshyan (Artavazd (Art’ur) P’eleshyan; also Pelechian, Peleshian, b.1938) is an Armenian director of essay films, a documentarian in the history of film art, a screenwriter, and a film theorist. He is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Filmmaker Sergei Parajanov has referred to Peleshyan as "one of the few authentic geniuses in the world of cinema". The first of Pelechian’s films to be screened in the West, "We" (1969) was shown at the International Short Film Festival Oberhausen in Germany, where it received first prize from the jury. His practice of cinematic montage escapes the classical rules of montage, developed by the film pioneers of the early decades of the 20th century, in particular, Sergei Eisenstein in the USSR, Georges Méliès in France, and D.W. Griffith in the United States. Whereas classical montage tended to place two images next to each other that are together of significance, Pelechian to the contrary strives to distance them, placing other images and sounds in between in order to emphasize the echo they have with each other. Distance montage thus structures itself by playing with repetitions and subtle variations in visual and sound motifs. He presents this scrupulous montage method in a famous theoretical text, “Contrapuntal Montage, or the Theory of Distance,” written at the beginning of the 1970s and published in a collection of texts published in Russian under the title Moyo Kino [My cinema] in 1988."- "A Pelechian film is constructed like a rosary, with a larger bead periodically separating series of smaller beads. The larger beads are the “support sequences,” and the smaller ones, distributed between them, are the “independent sequences”. There are a limited number of support sequences—two, three, four. They contain few shots, and consistently use select shots from previous support sequences. They function as a chorus. Between them, the independent sequences, sometimes reduced to a single shot, are subject to widely varied combinations of which the general rule is quickness allied with repetition.” - Barthélemy Amengual, “Sur Cinq Films d’Artavazd Pelechian” [On five films by Artavazd Pelechian], in Cahiers de la Cinémathèque, no. 67/68, December 1997.
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Kirkegaards Antikvariat
kir43443
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.
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Kirkegaards Antikvariat
kir54285
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."
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Kirkegaards Antikvariat
kir55725
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.
Kirkegaards Antikvariat
kir40287
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).
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Kirkegaards Antikvariat
kir58554
Rome: Accademia Nazionale di San Luca, 2018. Large heavy 8vo in stiff wraps as issued. 296 pages, richly illustrated. Text in both Italian and English. Fine clean copy. First edition. Scarce.
Kirkegaards Antikvariat
kir57865
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.
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Kirkegaards Antikvariat
kir58140
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.
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Kirkegaards Antikvariat
kir44772
Seventeen Magazine / : Triangle Publications Inc., New York and Philadelphia 1953. Large magazine format in original wrappers. 144 pages. Warhols drawings are 4 large spreads, or 8 pages in all. Some edgewear throughout. Complete magazine. Good to very good copy. A rare original vintage Seventeen Magazine issue, an absolute Supermagazine with most beautiful examples of Warhol's commissioned magazine work. Seventeen was the first succesful magazine exclusively for teenage girls. Art Kane, who was a former student of Alexey Brodovitch, was the art editor at Seventeen magazine when Warhol was appointed. Warhol's illustrations for Seventeen are among the most creative and personal of his commercial work. - "In 1944, Impressionist art collector and philanthropist Walter Annenberg, who would head a large media empire that included newspapers and radio and television stations in the 1950s, hired Helen Valentine, later an advertising manager at Mademoiselle, to create a teenage-only magazine. Seventeen was born . The idea that teenage girls were a distinct segment of the population primed for targeted marketing messages was relatively new at the time , but because both men had a deep understanding of the youth publishing market, the magazine's monthly circulation increased from 400,000 to a million by the end of its first year. Warhol’s collaboration with Seventeen lasted from 1953 until 1961. Art Kane was art director in the first half of the 1950s and Marvin Israel replaced him in 1955. Kane and Israel had a talent for innovatively mixing illustration and photography and Warhol learned a great deal from both" (G. Maffei).
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Kirkegaards Antikvariat
kir59818
Charlottenborg, 1975. 4to. (48) sider inklusiv omslaget. Lidt kantslitage med et lille afriv (se foto) og en reparation men ren og alt i alt ganske velbevaret. Originalt katalog fra Kvindeudstillingen 1975. Yderst sjælden.
Kirkegaards Antikvariat
kir56741
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!
Kirkegaards Antikvariat
kir59777
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.
Kirkegaards Antikvariat
kir55761
Published by Art Metropole, Toronto, 2011. 4to large format softcover with french flaps as issued. 386 pages, richly illustrated. Text in English. Light shelfwear to cover, inside clean and bright and overall a near fine / fine copy. First edition, first printing. "Commerce by Artists documents a fascinating and sweeping range of artists’ projects produced since the 1950s by Canadian and international artists who have sought to engage, rather than merely represent, the commercial world of which they are a part. Encompassing canonical works such as Yves Klein’s Zones of Immaterial Pictorial Sensibility (1958), Seth Siegelaub’s Artist’s Contract (1971), and Lee Lozano’s Strike Piece (1969) — as well as innovative and rarely-documented works like Keith Obadike’s Blackness for Sale (2001), Kelly Mark’s In & Out (1997-ongoing until 2032), and Ben Kinmont’s Sometimes a Nicer Sculpture Is to Be Able to Provide a Living for Your Family (1998-ongoing) — Commerce by Artists is a comprehensive document of artworks that take the form of transactions and exchanges of value". Edited by Luis Jacob with contributions by: agent.NASDAQ aka Reinhold Grether, Zeigam Azizov, Clegg & Guttmann, Carole Condé & Karl Beveridge, Isabelle De Baets and Hendrik Tratsaert, Jorge di Paola, Hu Fang, Elizabeth Ferrell, Gerald Ferguson, Andrea Fraser, Coco Fusco, Hans Haacke, Jens Hoffmann, Luis Jacob, Mary Kelly, Yves Klein, Jeffrey Kastner, Sina Najafi, Jane Crawford, Frances Richard, Richard Manning, Helen Molesworth, Keith Obadike, Hans Ulrich Obrist, Beatrix Ruf, Andrea Rosen, Martha Rosler, Reid Shier, Julian Stallabrass, Julia Steinmetz, Heather Cassils, Clover Leary, Neil Thomas, Calvin Tomkins, Mierle Laderman Ukeles, Cédric Villate et al.
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Kirkegaards Antikvariat
kir54531
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.
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Kirkegaards Antikvariat
kir47436
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.
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Kirkegaards Antikvariat
kir58941
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."
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Kirkegaards Antikvariat
kir59863
London: Koenig Books 2013. 8vo in softcover. 279 pp. Illustrated. Text in English. Very good copy. 1st edition. - "Russia, 1917-A time of complex political upheaval that resulted in the demise of the Russian monarchy and seemingly offered great prospects for a new dawn of art and science. Inspired by revolutionary ideas, artists and enthusiasts developed innumerable musical and audio inventions, instruments and ideas often long ahead of their time-a culture that was to be cut off in its prime as it collided with the totalitarian state of the 1930s. Smirnov's account of the period offers an engaging introduction to some of the key figures and their work, including Arseny Avraamov's open-air performance of 1922 featuring the Caspian flotilla, artillery guns, hydroplanes and all the town's factory sirens; Solomon Nikritin's Projection Theatre; Alexei Gastev, the polymath who coined the term 'bio-mechanics'; pioneering film maker Dziga Vertov, director of the Laboratory of Hearing and the Symphony of Noises; and Vladimir Popov, the pioneer of Noise and inventor of Sound Machines. Shedding new light on better-known figures such as Leon Theremin (inventor of the world's first electronic musical instrument, the Theremin), the publication also investigates the work of a number of pioneers of electronic sound tracks using 'graphical sound' techniques, such as Nikolai Voinov, Evgeny Sholpo and Boris Yankovsky. From eavesdropping on pianists to the 23-string electric guitar, microtonal music to the story of the man imprisoned for pentatonic research, Noise Orchestras to Machine Worshippers, Sound sin Z documents an extraordinary and largely forgotten chapter in the history of music and audio technology."
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Kirkegaards Antikvariat
kir59800
Boston: A Bulfinch Press Book / Little Brown andf Company 1997. Tall slim 4to in original hardcover with original, slightly discolored, obi wraparound band. 48 pages, with color illustrations. Complete. Light wear to exterior (please see photos). Overall a very good attractive copy. Originally 1959 in only 34 handmade copies with Suzie Frankfurt to poke fun at the then newly fashionable French haute cuisine for New York's beau monde. The camp, fanciful book, reproduced here in full, includes recipes for Gefilte of Fighting Fish and Roast Igyuana Andalusian, hand-lettered - mistakes and all - by Warhol's mother. This is the First edition (stated) and 1st printing in bookform.
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Kirkegaards Antikvariat
kir58442
New York: United Federation of Teachers (UFT), 1969. 4to in original wraps as issued. v, 204 pages. Foxing to edges and outer margins, else minimal wear to cover. Overall a very good, very well preserved and clean copy. Very rare item. original first edition 1st printing, 1969.
Kirkegaards Antikvariat
kir58959
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!
Kirkegaards Antikvariat
kir59226
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.
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Kirkegaards Antikvariat
kir59072
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.
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