Ny primary information (14 résultats)

Softcover. Etat : Very Good+. First Edition. 187 pages.

Paperback. Etat : Very Good. Pages clean & bright; binding tight; very minor wear to covers. 219 pages. Illustrated. Size: 5 1/2" x 8 1/2".

Softcover. 432 pages. A fine copy in wrappers. As new and still in the publisher's shrinkwrap.

1st printing of 1st edition. 313 pages, illustrated. Fine paperback book in decorative wrappers (soft cover book)/ no dust jacket.

Perfect Bound Soft Cover. In Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jr is a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.…

Perfect Bound Soft Cover. Etat : This is a new book. Reader is the first anthology to gather Constance DeJong's diverse body of writing. Spanning from the 1980s to the present, the publication features eighteen works by DeJong, including out-of-print and previously unpublished fiction, as well as texts emanating from her new media sculptures, sound works, video works, and public art commissions. An influential figure of the 1970s and '80s downtown New York writing and performance scene, Constance DeJong has channeled time and language as mediums in her work for the last four decades, expanding the possibilities of narrative form and literary genre. From the earliest work collected here-a manuscript of DeJong's 1982 prose text I.T.I.L.O.E.-to the digital project Nightwriters (2017-18), Reader assembles a range of experimental texts by the artist. The volume includes such works as the 2013 publication and performance, SpeakChamber and the script for Relatives (1988), a duet between a television and a performer made in collaboration with artist Tony Oursler. Never-before-published works including texts created for re-engineered vintage radios, aphorisms commissioned for a Times Square digital billboard, and transcripts for sound works originally installed along the Thames and Hudson rivers are also featured in the book. Taken together, these works showcase how DeJong has helped define and push the boundaries of language in the visual and performing arts. The artist's sustained exploration of language blurs the lines between many fields, and DeJong's work has also had a long life in the literary world. In the late 1970s, she self-published the critically acclaimed novel Modern Love on her short-lived Standard Editions imprint. On the 40th anniversary of the novel's original publication, the book was published in facsimile form by Primary Information and Ugly Duckling Presse, and has gone on to sell over 10,000 copies since its release in 2017. Constance DeJong is a New York-based artist who has exhibited and performed internationally. Her work has been presented at the Renaissance Society, Chicago; the Walker Art Center, Minneapolis; the Wexner Center for the Arts, Columbus; the Philadelphia Museum of Art; and in New York at the Dia Art Foundation; The Kitchen, Thread Waxing Space, and the Whitney Museum of American Art. In 1983 she composed the libretto for Satyagraha, the Philip Glass opera, which has been staged at opera houses worldwide, including the Metropolitan Opera, New York; the Netherlands National Opera, Rotterdam; and the Brooklyn Academy of Music, New York. She has permanent audio-text installations in Beacon, New York; London; and Seattle. DeJong has published several books of fiction, including her celebrated Modern Love (Standard Editions, 1977; Primary Information/Ugly Duckling Presse, 2017), I.T.I.L.O.E. (Top Stories, 1983), and SpeakChamber (Bureau, 2013), and her work is included in the anthologies Up is Up, But So is Down: New York's Downtown Literary Science, 1974-1991 (NYU Press, 2006); Blasted Allegories (New Museum/MIT, 1987), and Wild History (Tanam Press, 1985). .…

Perfect Bound Soft Cover. Etat : This is a new book. Self-published in 1968, Footprints, Poems, and Leaves collects dozens of poems written by Martin Wong between 1966 and 1968. Hand-written in a signature calligraphic style that he was just beginning to develop, the poems ebb and flow visually across the page, much like the fluctuating characters, scenes, and moods that inhabit them. This was Wong's first book of poetry and it contains a double cover showcasing intricate drawings of skeletal angels and other tableaux, as well as a folded, looseleaf broadsheet containing two poems and a drawing of a boney leaf. The poems were written during a relatively free period for the artist, shortly after he dropped out of Berkeley and began exploring San Francisco at the height of the hippy movement. The poems range from surrealist and pastoral descriptions of the urban subculture that surrounded him to downtrodden, travel-weary biographical entries that are both lonely and tender. Footprints, Poems, and Leaves functions like a journal capturing Wong's tumultuous life in this period, which included being arrested at a queer, drug-fueled house party (along with Rudolf Nureyev and Dame Margot Fonteyn) and a stay in a mental institution in late 1967 and early 1968. Around the time of the book's publication, Wong enrolled in Humboldt State University to finish his degree, beginning a new chapter for the artist. Despite the dark backdrops of many of the works, the writing displays a playfulness with form and language and a sense of humor that can be seen throughout Wong's later work as well. Altogether, Footprints, Poems, and Leaves creates a rich tapestry of visual poetry that is both a product of its time and the budding artistic mind of a young Martin Wong. Martin Wong (1946-1999) was born in Portland, Oregon and raised in San Francisco, California. He studied ceramics at Humboldt State University, graduating in 1968. Wong was active in the performance art groups The Cockettes and Angels of Light before moving to New York in 1978. He exhibited for two decades at notable downtown galleries including EXIT ART, Semaphore, and P P O W, among others, before his passing in San Francisco from an AIDS related illness. His work is represented in the collections of The Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; The Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Cleveland Museum of Art, Cleveland, OH; Art Institute of Chicago, Chicago, IL; and the San Francisco Museum of Modern Art, San Francisco, CA, among others. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum of The Arts in November 2015, before traveling to the Wexner Center for the Arts in 2016 and the UC Berkeley Art Museum and Pacific Film Archive in 2017. In 2022, the first extensive, touring exhibition of Wong's work in Europe, Martin Wong: Malicious Mischief, opened at Museo Centro de Arte Dos de Mayo in Madrid before traveling to KW Institute of Contemporary Art (Berlin), Camden Art Centre (London), and Stedelijk Museum (Amsterdam). .…

Paperback. Mostly BW pictorial wraps, black lettering on spine. 346 pp. Profusely illustrated in BW and color. A catalogue of profuse illustrations and no text, featuring works by this Norwegian painter, sculptor, and graphic designer. 1,000 copies printed. VG. Minimal edge wear. Clean and tight contents.…

Soft cover. Etat : Fine. No Jacket. 1st Edition. 1st Edition. Fine unread copy in black printed wraps. Signed by DeJong. Signed by Author(s).

240 pp.; 30.5 x 21.8 cm.; sewn bound; black-and-white; edition size 3500; unsigned and unnumbered; offset-printed 2021 Primary Information reprint of writings by Michael Asher originally published in 1983 as the fifteenth in a series of books on artists published by the Nova Scotia College of Art and Design in Halifax, Canada. Edited by Benjamin H. D. Buchloh. "Writings 1973?1983 on Works 1969?1979 is an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 34 works through the artist's writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera. .Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher's close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press." -- publisher's statement. NEW. As issued, in publisher issued shrink wrap. Due to large size and weight additional shipping charges will be required for international orders.…

Perfect Bound Soft Cover. Etat : This is a new book. First Edition. Dear Jean Pierre collects David Wojnarowicz's transatlantic correspondence to his Parisian lover Jean Pierre Delage between 1979 and 1982. Capturing a truly foundational moment for Wojnarowicz's artistic and literary practice, these letters not only reveal his captivating personality-and its concomitant tenderness, compassion, and neuroses-but also index the development of the visual language that would go on to define him as one of the preeminent artists of his generation. Through this collection, readers are introduced to Wojnarowicz's Rimbaud series, the band 3 Teens Kill 4, the publication of his first photographs, his early friendship with Peter Hujar, his participation in the then-emerging East Village art and music scenes, and the preparations for the publication of his first book. Included with these writings are postcards, drawings, xeroxes, photographs, collages, flyers, ephemera, and contact sheets that showcase some of the artist's iconic images and work, such as the Burning House motif and Untitled (Genet, after Brassai). Beyond these milestones, the book offers a striking portrayal of Wojnarowicz as a twenty-something, detailing his day-to-day life with the type of unbridled earnestness that comes with that age and the softness of love and longing. This disarming tenderness provides a picture of a young man just beginning to find his voice in the world and the love he has found in it. Although the two exchanged letters in equal measure, Delage's correspondences have largely been lost, leaving us with only a revelatory glimpse into the internal world of Wojnarowicz during what turned out to be his formative years. David Wojnarowicz (1954-1992) was born in Red Bank, New Jersey. Wojnarowicz channeled a vast accumulation of raw images, sounds, memories and lived experiences into a powerful voice that was an undeniable presence in the New York City art scene of the 1970s, 80s and early 90s. Through his several volumes of fiction, poetry, memoirs, painting, photography, installation, sculpture, film and performance, Wojnarowicz left a legacy, affirming art's vivifying power in a society he viewed as alienating and corrosive. His use of blunt semiotics and graphic illustrations exposed what he felt the mainstream repressed: poverty, abuse of power, blind nationalism, greed, homophobia and the devastation of the AIDS epidemic. Wojnarowicz died of AIDS-related complications on July 22, 1992 at the age of 37. .…

270 pp.; 27 x 20.9 cm.; glue bound; black-and-white & color; edition size 75; signed and numbered; offset-printed "This limited edition is comprised of the Destroy All Monsters Magazine publication signed by the collective's original members: Mike Kelley, Cary Loren, Niagara, and Jim Shaw. Also included is an 8×10 silver print by Cary Loren and a small glycine baggie of dirt from God's Oasis?the commune Mike Kelley and Jim Shaw lived in from 1974 to 1976 and which served as the collective's musical practice space. Destroy All Monsters Magazine was edited by Cary Loren and contained artwork, photographs, and flyers from bandmates Mike Kelley, Cary Loren, Niagara, and Jim Shaw. Printed using any papers and techniques available to the band, the issues combine the cut-and-paste tactics of punk zines with a psychedelic affinity for color. Destroy All Monsters Magazine functions as a kind of manifesto, providing insight into the band through densely layered pages with movie imagery, kitsch, cartoons, delicate drawings, and counter-culture collages. While Destroy All Monsters has been the subject of recent exhibitions and partial reprints, this is the first time that all issues have been reprinted." -- publisher's statement. Fine. Complete special edition copy with signed photograph and baggie of dirt. Numbered 6/75.…

Paperback. Etat : Very Good. Illus. including front cover by Niagra, 10.75 x 8.75", pict wraps, unpaginated, covers a little rubbed, but still a nice, clean copy. Limited to 3000 copies. ISBN: 9780978869786. Detroit band, consisting of Niagra, Carey Loren, and others.

1016 pp.; 10.5 x 19.5 x 2.5 inches; slipcase; black-and-white; edition size 100; signed and numbered; offset-printed; "Avalanche" magazine was founded by Willoughby Sharp and Liza Béar shortly after they met in 1968. At the time, Sharp was a New York-based art historian and independent curator, and Béar an underground magazine editor who had recently moved to New York from London. They published the first issue in 1970 and collaborated on 13 issues from 1970 to 1976. "Avalanche" focused on art from the perspective of artists rather than critics, and investigated new forms of art that were developing in the U.S. and Europe with a radical new media format--probing interviews, extensive use of photography, and dynamic layouts. For many artists, publication in "Avalanche" preceded a one-person gallery or museum show. Aside from an eight-page news section, the editorial content included only interviews by Sharp and / or Béar, artists'' texts, and documents of art and art making, also functioning as an exhibition space in print. Fresh, incisive and unpretentious, the "Avalanche" interviews -- now landmarks -- illuminate the creative process and give a clear voice to the specific issues that permeated the era. Among the featured artists were Vito Acconci, Joseph Beuys, Hanne Darboven, Walter De Maria, Jan Dibbets, Philip Glass, Barry Le Va, Sol LeWitt, Richard Long, Gordon Matta-Clark, Bruce Nauman, Dennis Oppenheim, Yvonne Rainer, Keith Sonnier, Richard Serra, Robert Smithson, William Wegman, Lawrence Weiner and Jackie Winsor. This boxed facsimile edition of Avalanche''s complete run reproduces the first eight issues individually, and the final five in a single-bound paperback. This limited edition copy is accompanied by a certificate signed by both Liza Béar and Willoughby Sharp shortly before Sharp''s death in December 2008. The publication is 1,016 pages and illustrated throughout; is housed in a heavy-duty, laminated, archival box measuring 10.5 x 19.5 x 2.5 inches. The first eight issues measure 9.25 x 9.25 inches and are exact facsimiles of the originals the subsequent five tabloid-sized issues, now bound as a single volume measuring 9.25 x 13.5 inches, have been reduced slightly in scale from the original format. This edition weighs approximately 12 lbs (packed weight). The edition will be shipped in a made-to-fit outer box of heavy-duty cardboard to ensure safety and protection. Reference : "Artists' Magazines : An Alternative Space for Art" by Gwen Allen. Cambridge / London, MA / United Kingdom : The MIT Press, 2011, pp. 242. New. As issued by publisher in unopened shipping box. Due to the size of this item, additional shipping charges will be required.…