flynt henry (28 Ergebnisse)

Zustand: Good. Revised & enlarged. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: Fair. Acceptable condition. Good dust jacket. (Massachusetts, Historic Buildings) A readable, intact copy that may have noticeable tears and wear to the spine. All pages of text are present, but they may include extensive notes and highlighting or be heavily stained. Includes reading copy only books.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good. Deerfield, Massachusetts: Old Deerfield, 1958. Museum publication from 1958, illustrated in black and white. Softcover, 12 pages. Minimal shelfwear, internally about fine. Soft Cover. Very Good. 8vo - over 7¾" - 9¾" tall.

Hardcover. Zustand: Very Good. Very good hardcover. Pages clean. Illustrated. Spine faded on blue cloth cover. Stain on top end to spine.

Paperback. Zustand: Fair. Deerfield, Massachusetts: Privately Printed By Old Deerfield, 1952. Museum publication from 1952. Softcover, 8 pages, black and white frontis. Minor insect damage to front cover, a bit more to the rear cover, which has a half dozen tiny holes, two tiny holes to final page, contents clean. Soft Cover. Fair. 8vo - over 7¾" - 9¾" tall.

Paperback. Zustand: Good. Deerfield, Massachusetts: Old Deerfield, Printed By the Commonwealth Press, Worcester, Massachusetts, 1965. Museum publication from 1965, illustrated in black and white plus a color frontis. Softcover, twelve pages. Seasons Greetings card signed by Helen Geier Flynt attached to the inside front cover. Minor insect damage to the rear cover, internally very clean. Soft Cover. Good. 8vo - over 7¾" - 9¾" tall.

182pp. Prof. illus. 4to. Cloth. D.j.

Softcover. Zustand: Sehr gut. 1. Auflage. Z : 17 x 24 cm, 300 pages, 16 b/w illustrations - Edited and introduced by John C. Welchman, The "Aesthetics of Risk" is based on the third SoCCAS symposia, held at the J. Paul Getty Museum. The anthology collects 16 essays and conversations about the nature and consequences of risk in and out of the art world, beginning with the premise that the modern subject is caught up in an ever-expanding network of predictive and proactive stratagems for the management of risk. Discussion includes general issues in the relation between risk and modernity (John C. Welchman, Gerda Reith); a case study from the Occupied Territories in the Middle East (Neve Gordon and Dani Filc); Andy Warhol's films (Douglas Crimp); several arenas and strategies for activist practice (Keiko Sei and Chris Hill, Critical Art Ensemble); social and aesthetic contexts for performance art in the UK (Chrissie Iles) and the US (Jane Blocker); experimental video in Brazil in the 1970s (Elena Shtromberg), and recent work in the US (Glenn Phillips). It also features interviews with Catherine Opie, Brock Enright and Paul McCarthy; a text by Henry Flynt; discussion of Barnett Newman, Bridget Riley, and Richard Serra (Richard Shiff); of recent art in Mexico City (Gabriela Jauregui); and of the technological reconstitution of risk (Jordan Crandall).

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Very Good. B/W Illustrations Throughout (illustrator). 1st Edition. Xiv, 391 Pp. Red Cloth. First Printing. Near Fine, No Marks. Dust Jacket Priced $30, Slight Wear But Several Short Edge Tears. Most Of The Book Is A Biographical Dictionary Of Those Silvesrmiths.

184 pp.; 27.7 x 21.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Summer 1982 issue of Art Journal. Guest edited by Clive Phillpot. "Editor's Statement," by Clive Phillpot; "Looking at a Printed Page," by Tony Rickaby; "Messages Received," by Howardena Pindell; artist's project by Sol LeWitt; "Kangaroo? (Some Songs by Art & Language and the Red Crayola," by Art & Language, The Red Crayola; "artist's project by Davi Det Hompson; "Why Write," by Daniel Buren; Color / Language Studies 1973 - 82, by Iain Baxter" artist's project by John Fekner; "The Walking Man 1975 - 1978 and The Artist's Dream," by Ian Breakwell; "Extracts fom Personhood's Self-Cancellation," by Henry A. Flynt Jr.; "Notes from Art (4 pages)," by Lawrence Weiner; artist's project by Ben; "The Definitive/ist Manifesto by the Guerrilla Art Action Group"; artist's project by Les Levine; artist's project by Jenny Holzer; artist's project by John Baldessari "On Social Grease," by Hans Haacke. Additional content by Marsha Morton, Maureen Connor, Bernard Hanson, Douglas G. Campbell, and Karen F. Beall. Very Good. Light bumping of corners and rubbing of covers. Yellowing at edges of cover. Contents clean and unmarked.

43 pp.; 27.8 x 21.2 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published as an overview of performances and exhibitions held at The Kitchen in New York in 1974 and 1975. Introduction by Bruce Kurtz. Artists include: Ant Farm, Eleanor Antin, John Baldessari, Kirsten Bates, Connie Beckley, David Behrens, David Behrman, Carmen Beuchat, Scott Billingsley, Trisha Brown, Jim Burton, Jim Byrne, Peter Campus, Cornelius Cardew, Sergio Cervetti, Rhys Chatham, Peggy Cicierska, Andy Mannik, Jim Cobb, David Cort, Alvin Curran, Barbara Dilley, Juan Downey, Jean Depuy, Susan Ensley, Henry Flynt, Nova'Billy, Simone Forti, Jon Gibson, Davidson Gigliotti, Frank Gillette, Tina GIrouard, Dan Graham, Amy Greenfield, Ellen Grossman, Noel Harding, Julia Heyward, Nancy Holt, Gerard Hovagimyan, Nelson Howe, Tannis Hugill, Tom Johnson, Joan Jonas, Beryl Korot, Jill Kroesen, Shigeko Kubota, Robert Kushner, Richard Landry, Darcy Lange, Garrett List, Anna Lockwood, Alvin Lucier, Jackson Mac Low, Ingram Marshall, Michael McClard, Mike Metz, Dick Miller, Phill Niblock, Steve Paxton, Liz Phillips, Virginia Quesada, Eliane Radique, Steve Reich, Jonathan Richman, Ripert Center, Joost Romeu, Jim Rosenberg, Leon Rosenblatt, Martha Rosler, Arthur Russell, Ira Schneider, Robin Schwartz, Allen Sekula, S.E.M. Emsemble Festival, Willoughby Sharp, Tape Inc., Richard Teitelbaum, David Tudor, Peter van Riper, Robin Winters, Walter Wright, and Susan Wolfson. Cover photo by Robin Winters. Very Good / Fine. Light rubbing of covers with light bumping of corners and creasing at spine. Contents clean and unmarked.

Soft cover. Zustand: Very Good. 1st Edition. Ausgabe is an avant-garde literary and art magazine published by Armin Hundertmark between 1976 - 1984 in Berlin and Cologne. 5 volumes comprising issues 1-5 and published between 1976-1980. All in excellent condition with very minor wear to covers. Interiors unmarked, square and bright. Contributors include Dick Higgins, Henry Flynt, Dieter Roth, Mauricio Kagel, Alison Knowles, Boris Lurie, George Brecht, Philip Corner, Arthur Koepcke, Hermann Nitsch, Bern Porter, Paul Sharits, Takako Saito among many others. Text in German.

Second Edition, a trade softcover original, with all inserts present. The faithful reprint of the seminal Fluxus manifesto, originally published in 1963. INSCRIBED by editor Jackson MacLow on the front wrapper verso: "This copy for David [and] Ellie [and] Blaine / Jackson / 3/11/74." Good to Very Good in perfect bound red-and-black wrappers, with loss at the bottom fore-edges, and moderate fading on the spine and page edges. Fluxus Codex US. Signed.

Paperback. 206 S.; Prima Edizione, Erste Auflage, SEHR GUTER ZUSTAND. Mit einigen Abbildungen. BLUEPRINT FOR A HIGHER CIVILIZATION is like an alien attack on human civilization. Size: 23 x 17 Cm. 550 Gr.

Plaquette 27,5 x 10, 5 cm. 12 pages agrafées, couverture illustrée du portrait photographique de Henry Flynt par Diane Wakoski. Texte d'Henry Flynt " Art or Brend ? ", premier texte publié séparément par l'auteur, suivi de lettres reçue par Flynt de Terry Riley, Bob Morris, Walter De Maria et Diane Wakoski. (en anglais). Texte de Ben Vautier " Ben abandonne l'art / Ben doute de tout ", (en français). Portraits photographiques de Ben. E.O. de cette publication du Mouvement Fluxus.

First Edition. First Edition. Perhaps best known for coining the term "concept art" in an essay under that name in the 1963 proto-Fluxus publication "An Anthology," Henry Flynt was an integral part of the New York avant-garde art and music scenes of the early 1960s. His rigorous anti-art stance and confrontational protest tactics against New York cultural institutions of the period were recast to issues of philosophy, physics, and economics after studying communist economics during the early 1970s, though with no less a confrontational approach to bourgeois culture, formalism, and modern aesthetics. As a musician, Flynt is known for his fusion of high-brow and so-called low-brow music, creating "a new American ethnic music," deemed "Hillbilly avant-garde" by Flynt, and performed on violin or guitar. Flynt enjoyed a brief stint in the Velvet Underground in 1966, replacing an ailing John Cale. He also coined the term "involuntary celibate" in his essay "Creep," first published in his 1975 book "Blueprint for a Higher Civilization," decades before the term was shortened to "incel" and affiliated with the violent online movement. Near Fine, with a white comb binding. 30 pages.

Zustand: Near fine/fine. Henry Flynt, Down With Art!, Fluxpress, New York, 1968. 273 x 105mm. 12pp. Black and white printed wraps, staple-bound. Flynt's first separate publication, featuring his essay, 'Art or Brend'; a press release and statement; correspondence from Terry Riley, Robert Morris, Walter De Maria, Diane Wakoski (who took the cover photo), and Cornelius Cardew (extract); and an artist's statement by Ben Vautier. Condition: near fine / fine.

Zustand: Very Good+. AN ANTHOLOGY OF CHANCE OPERATIONS (Edited by Jackson Mac Low), New York: Heiner Friedrich. 1970. 208 x 230mm. 112pp. Second edition. One of 4000 copies. Faithful re-issue of the 1963 Fluxus publication. Printed on 7 coloured paper stocks with 2 loose sheets and 2 mounted envelopes containing performance scores. Designed by Maciunas, with contributions by George Brecht, Claus Bremer, Earle Brown, Joseph Bryd, John Cage, David Degener, Walter De Maria, Henry Flynt, Yoko Ono, Dick Higgins, Toshi Ichiyanagi, Terry Jennings Dennis, Ding Dong, Ray Johnson, Jackson Mac Low, Richard Maxfield, Malka Safro, Simone Forti, Nam June Paik, Terry Riley, Dieter Rot [Dieter Roth], James Waring, Emmett Williams, and Christian Wolff. Condition: Sunning to spine, light wear to edges of front cover, handling marks to front cover and back cover as seen. Minor toning to some pages. Internally Very Good+, no tears or major issues. Overall Very Good+ in Very Good dust jacket.

Zustand: overall very good +. First Edition. George Maciunas, George Brecht, Fluxus Editorial Council for Fluxus, ccV TRE Fluxus Magazine, New York, 1964-70. All original first edition copies printed by Maciunas in New York in newspaper format. 8 issues of the 11 eleven issues published. Black offsey lithograph, mostly printed on white paper, with some coloured stock. Each issue approc 580 x 440mm, folded to 290 x 440mm, 4pp. Condition: all issues have beens stored folded twice since 1970, some general even toning is apparent, some rubbing to the edges - this has led to some closed tear where they have been folded along the spine area. All 8 issues: (1) Fluxus cc V TRE Fluxus No.1, Jan. 1964. (2) Fluxus cc V TRE Fluxus No.2, Feb. 1964. (3) Fluxus cc Valise eTRanglE No.3, March 1964. (4) Fluxus cc fiVe ThRee No.4, June 1964. (5) Fluxus Vacuum TRapEzoid No.5, March 1965, printed on brown wrapping paper. (6) Fluxus Vaudeville TouRnamEnt No.6, July 1965, printed on yellow stock. (7) Fluxus Vaseline sTREet No.8, May 1966. (8) JOHN YOKO & FLUX No.9, 1970.

First and sole edition of Flynt's most developed statement on culture and politics during the 1960s, rare in commerce. This is the only copy we have been able to trace which preserves the polystyrene block and plastic sheet, issued with the manifesto to illustrate the materials to be used in the construction of affordable, durable, prefabricated housing. Flynt spent the early 1960s as a Marxist activist. He was involved with Fluxus, coined the term "concept art", and developed a nuanced criticism of Eurocentric culture, which he considered a thin veneer for white supremacy. Writing for Workers World in 1964, he noted, "Whatever path of development the non-European, non-white peoples choose for their cultures, we will fight to break out of the stifling bondage of white, plutocratic European Art's domination" (cited by Adlington, p. 46). This manifesto is his first significant and sustained critique of Eurocentric culture. It was undertaken in collaboration with George Maciunas, who designed its presentation. The first, smaller page, comprises a detailed text "outlining how communists could surpass the United States and Western Europe as cultural leaders in five categories: 'The Applied Arts', 'Film', 'The Visual Arts', 'Fiction', and 'Theory of Culture'" (Bergdoll). The second page is comprised of seven appendices, the first five of which are illustrated. Appendix 1 provides an analysis of Soviet prefabricated building systems; Appendix 2 introduces Flynt's own system, which claims to be more efficient and aesthetically pleasing than the soviet model. Appendices 3 through 5 are homages to designs Flynt and Maciunas revered: Buckminster Fuller's Geodesic dome, the Citroën car, the electric guitar, and the organ. Appendices 6 and 7 are about film. "The pamphlet is not only a fascinating and curious manifesto but also a rigorous architectural analysis by an artist, surprisingly convincing and entirely unexpected" (ibid.) On the final page, Maciunas notes that "A coloured stock, which is more rugged and durable than newsprint, but costs as little because it is not bleached, is used"; examples of the manifesto have appeared on both green and red stock, with no known priority. Robert Adlington, Sound Commitments: Avant-Garde Music and the Sixties, 2009; Barry Bergdoll et al., Home Delivery, Fabricating the Modern Dwelling, 2008. Single sheet (425 x 425 mm) and bifolium (425 x 850 mm), printed both sides in offset in black on green paper, both folded (225 x 150 mm), with a single sheet of translucent plastic (225 x 150 mm) and a polystyrene block (225 x 150 x 25 mm), all tied together with an elastic band as issued. Housed in a red flat-back cloth box by the Chelsea Bindery. Sheets faintly sunned at edges, elastic band becoming brittle; a remarkably well-preserved example, in fine condition.

2 vol. : [1] pp. ; [1] pp.; 27.8 x 21.5 cm.; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Two sheets documenting Henry Flynt's "Culture" to Veramusement held February 27 and 28, 1963. First page is press release for action held on the morning of Wednesday, February 27, 1963, discussing a demonstration primarily against Serious Culture. This picketing will demonstrate the opposition of From "Culture" to Veramusement to Serious Culture (and art) at the Metropolitan Museum of Art, The Museum of Modern Art, and Philharmonic Hall at Lincoln Center.Second page is program for Flynt's lecture held in Walter De Maria's loft at 49 Bond Street, New York, February 28, 1963. Good. Both sheets folded in three for mailing, light edge wear, inked notations on press release, and light pencil notations on program.

7.5 x 6, sewn wraps, 28 pp, ex-lib (very small library stamp on last page), later replacement wraps with title, etc., written on the front, wraps are soiled, creased, torn, title page defective (missing approx half of top half of page and torn) and backed with a piece of "rag" paper, missing letters of title have been carefully written in, previous owner's ink inscription from 1792, contents are stained, chipped, torn, and spotted, With a preface by Increase Mather. Flynt was a Harvard professor. Evans 1676, Sabin 24928.

Bearsville, New York: [self-published]. 1983. Black binder with clear plastic front panel (c. 290 x 230mm); ff. '42' (i.e. 47) unbound photocopied typescript, printed to rectos only; a few small marks to covers, else very good; Hennix's address inscribed in her hand to foot of first leaf.Very rare typescript 'second edition' of Toposes and Adjoints, in fact a parsing by Henry Flynt of the work of the same name by the pioneering Swedish transgender avant-garde composer, mathematician, poet, visual artist, and musician Catherine Hennix, conceived as part of a visual installation of the same name exhibited at the Moderna Museet in Stockholm in 1976. Modalities and Languages for Algorithms seemingly circulated only in typescript until its inclusion in Hennix's Poesy Matters and Other Matters (2019). Catherine Hennix (born Christer Hennix, 1948-2023) studied bio-chemistry and linguistics at Stockholm University; in 1968 she met Dick Higgins and Allison Knowles of the Fluxus movement and began collaborating with Henry Flynt. Hennix and Flynt co- founded the guitar and drum duo Dharma Warriors, recording in her rented house in Bearsville (Woodstock, NY) at the same time as they revised her book. The resulting record, consisting of two wild improvisations, are seemingly at odds with the quote from Alain-Robbe Grillet which features both in Toposes and Adjoints and in this revised edition: 'Nothing is more fantastic, ultimately, yet precision', yet in spite of their musical chaos they embody the mathematical principles presented in this work. Hennix taught at MIT's AI lab in the 1970s and studied under Alexander Esenin-Volpin, whose influence is present in this work. No copies traced in OCLC or Library Hub.