Resultados de búsqueda: Libros de Tim Byers Art Books

Venice.: Galleria del Cavallino., 1968. Folded card, 4-page.. (20 x 19 cm).. Brochure printed for the Tornquist exhibition at the Galleria del Cavallino, Venice, 5-16 December 1978. Text by artist, and with one colour illustration and one black-and-white illustration. Short biographical note.

Berlin.: Haus am Lützowplatz., 2000. Original wrappers.. (18 x 11.5 cm).. pp. (64). Illustrations throughout. Small artist’s book published on the occasion of Emmett Williams’s exhibition entitled “Märchenstundengebilde”, held at the Haus am Lützowplatz, August 2000.

New York.: The New York Cultural Center., 1974. Original wrappers.. (28 x 21.6 cm).. pp. 95. Illustrated throughout in monochrome reproductions of the drawings. Exhibition catalogue, April 19 - June 16, 1974 - the New York Cultural Center. Text by Susan Ginsberg and Joseph Masheck, preface by Mario Amaya.

London.: London Borough of Camden., 1969. Publisher’s wrappers, stapled.. (21 x 20.8 cm).. pp. (32). With 15 black and white illustrations. New Space was dedicated to four artists: Timothy Drever, Ed Herring, Peter Joseph and David Parsons. Herring made an installation in the garden. At the time of the catalogue going to print the work was called ‘Proposal for Work in a Public Open Space’, which Herring later called Chemical Boxes. It comprised 20 specially prepared boxes, metal-lined and filled with different water-sensitive chemicals. They were arranged in rows, before being buried. The boxes in each row were connected with each other by small pipes. At the top end of each row was an area for collecting rain water, which was fed it into the boxes. The aim was to let rain water infiltrate the boxes and create a chemical reaction. The finished result, being buried underneath the lawn, was invisible to the public.

New York.: The New Museum., 1981. Original yellow wrappers. Slight bumping to fore-edge, otherwise good.. (20.2 x 23 cm).. pp. 77. Published on the occasion of exhibitions at The New Museum, New York, The Contemporary Arts Center, Cincinnati, University Art Galleries, Dayton, and Contemporary Arts Museum, Texas. With essays by Marcia Tucker and Robert Pincus-Witten and an interview with the artist by Nancy Drew and Carrie Rickey.

Basel.: Kunstmuseum Basel., 1982. Original cream wrappers.. (21 x 26 cm).. pp. (2), 45. Introduction by Dieter Koepplin. Facsimile reproduction of a series of brown chalk drawings by Penck.

Hamburg.: Galerie Ascan Crone., 1983. Publisher’s wrappers, stapled.. (23.8 x 16.4 cm).. pp. 28. With 8 tipped-in colour plates. Exhibition catalogue, May - June 1983. Essay by Armin Wildermuth. This copy inscribed by Koberling in pen on the inside front cover under his printed photo portrait.

Washington DC.: Smithsonian Institution Press., 1977. Original wrappers, mild staining.. (29.5 x 24 cm).. pp. 111. With 68 illustrations, 2 in colour. Introduction and text by John Beardsley. Exhibition catalogue, the Hirshhorn Museum and Sculpture Garden, Washington, D.C, then the La Jolla Museum of Contemporary Art and the Seattle art Museum, 1977-78. Catalogue of 29 exhibits, including groups of drawings, models and documents relating to earthworks and environmental projects, with notes and commentaries on the projects and biographical notes on the sculptors (Harvey Fite, Richard Fleischner, Michael Heizer, Nancy Holt, Richard Long, Robert Morris, James Pierce, Charles Ross, Charles Simonds and Robert Smithson). Foreword by Abram Lerner.

Cologne.: Verlag der Buchhandlung Walther König., 1983. Publisher’s cloth with dust-jacket.. (29 x 22 cm).. pp. 103. Printed in an edition of 1000 copies. The painter Werner Büttner has, since the 1980s, been one of the so-called 'new' or 'young savages' together with Albert Oehlen and Martin Kippenberger, who propagated a 'Rückkehr der Malerei’ or a ’return of painting'. Under the title ‘Schrecken der Demokratie' (Terror of Democracy), Büttner presents here a collection of provocative, thoughtful drawings and short texts. [Ref. Sabine Röder ed. - Sand in der Vaseline. Künstlerbücher II. 1980-2002, p. 34, no. 1.4].

Ithaca, NY.: Herbert F. Johnson Museum of Art, Cornell University., 1982. Original wrappers.. (27.5 x 21 cm).. pp. 111. Monochrome illustrations throughout. Catalogue published on the occasion of the 40th Venice Biennale.

Berlin.: daad galerie., 1979. Original printed wrappers.. (29.6 x 21 cm).. pp. (20). Full-page colour reproductions of Brus’s drawings. Exhibition catalogue, September - October 1979. With introductory text by Wieland Schmied ""Zwei Texte für Günter Brus. Ein irdisches Totaltheater. Eine Rühmung des Dekorativen”. This copy complete with the list of exhibited works printed on a separate loose sheet.

London.: Tate Gallery., 1980. Original white wrappers, stapled.. (21 x 29.5 cm).. pp. (12). Black-and-white photographic illustrations. Artist’s book produced on occasion of the St Ives Festival, Cornwall, 1980. “Four temporary works situated in West Penwith, Cornwall England”. Includes Roger Ackling's 'Jean Charles’, Hamish Fulton's 'Seven Hills’, Richard Long 'Erratic', and Michael O'Donnell 'Turf Pillar'. Text by David Brown. Printed in an edition of 750 copies.

Amsterdam.: Stedelijk Museum., 1969. Colour postcard.. (15 x 10.5 cm).. Throughout 1969, in and around London, Gilbert & George organised numerous presentation as living sculptures (Underneath the Arches, Meeting Sculptures, The Meal, The Singing Sculpture), for which they typically covered their hands and faces in multi-coloured metallic paint to look like bronze statues and simply stood, sang, or moved together for a certain amount of time. On November 22 of 1969, from noon to 5 p.m., Gilbert & George gave their first presentation outside of the UK, on the interior stairs of the Stedelijk Museum, Amsterdam. ‘Posing on Stairs’ was carried out at the suggestion of Ger van Elk and authorised by curator Wim Beeren, but unannounced to the general public, which was clearly puzzled by the artists’ appearance. This postcard produced to commemorate the performance, shows the artists on the museum’s steps, with George availing himself of the handrail and Gilbert seated on a step. Photograph by Ad… Leer más

Cologne.: Verlag M. DuMont Schauberg., 1971. Publisher’s wrappers. German language edition.. 22.9 x 21.2 cm.. Unpaginated Numerous black and white illustrations throughout. Photo-documentation concerning one of the most experimental and radical American theatre groups. Founded in New York in 1947 by the German-Jewish émigré Judith Malina and the American Julian Beck, the Living Theatre was one of the first theatre ensemble to stage works by European authors such as Bertolt Brecht, Jean Cocteau, Gertrude Stein or T. S. Eliot. Known throughout the 1950s for artistic avant-garde productions, the theatre later became more and more part of the beat and hippie counterculture, and an important focus for the protest movement against the Vietnam War.

Paris.: Galerie Stadler., 1975. Original wrappers stapled. A fine copy, still in the original mailing envelope from the Atelier Rainer in Vienna.. (25 x 20 cm).. pp. 36. With 33 black-and-white illustrations. Published on the occasion of the exhibition of the same name held at the Stadler Gallery, Paris, May-June 1975. With the loosely enclosed accompanying text by Peter Weibel, translated into French.

Cologne.: Galerie Der Spiegel., 1964. Publisher’s wrappers, with dust-jacket. Jacket unevenly sun-bleached.. (25 x 16 cm).. pp. 36. Printed in an edition of 500 copies, with an original woodcut by Joseph Faßbender, folded and issued loose.

Munich.: Avant Art Galerie Casa., 1969. Original printed wrappers, with black cloth tape spine.. (29 x 21 cm).. With 16 numbered sheets of text, and 10 unnnumbered sheets of illustrations, all printed recto only. Brochure with numerous photographic illustrations and reproductions of notes and drawings illustrating the program and project of Nitsch’s three-day performance ""Orgien Mysterien Theater 3-tage Fest"" which was to take place between the end of June and mid-July 1969. The brochure also indicates the subscription fee, to be sent to the Galerie Casa of Munich. In reality this project was only realised many years later, with the Nitsch’s 80th Action held from 27 to 30 July 1984 in the artist’s castle of Prinzendorf.

Chicago.: Museum of Contemporary Art., 1980. Original wrappers, stapled.. (30.7 x 23 cm).. pp. 48. Black-and-white illustrations throughout. Exhibition catalogue, Museum of Contemporary Art, Chicago, March - May 1980. Introduction by John Hallmark Neff. Curated and with a text by Judith Russi Kirshner. Includes descriptions of artworks by Acconci with numerous illustrations throughout.

Graz.: Neue Galerie am Landesmuseum Joanneum., 1973. Original wrappers. A good copy.. (24 x 22.9 cm).. pp. (72). Colour and black-and-white illustrations. Exhibition catalogue, Neue Galerie am Landesmuseum Joanneum, November - December 1973. With a short text by Wilfried Skreiner.

Aachen.: Gegenverkehr e.V., 1970. Publisher’s wrappers, stapled.. (19.8 x 20.8 cm).. pp. 16. With five black and white illustrations. Catalogue for Gilbert & George’s exhibition at the Gegenverkehr e. V. Zentrum für aktuelle Kunst Aachen in October 1970. The catalogue consists of a reprint of the text from their boolet “to be with art is all we ask”.