Resultados de búsqueda: Libros de Tim Byers Art Books

Cologne., 1968 - 1975.. 12 volumes. Original publisher's printed wrappers.. (29.5 x 21 cm; issues 9 & 10: 21 x 15 cm).. Complete set of the seminal magazine Interfunktionen. Twelve issues over seven years may not appear to be a particularly impressive output, but it is difficult to overemphasise the influence and significance of Interfunktionen during and after its brief existence. Dissenting from the new 'art-as-commodity' attitude expressed at Arnold Bode’s documenta 4, Interfunktionen magazine, edited by Fritz Heubach in Cologne, was an interdisciplinary effort among activist artists to promote European art and ideas without bowing to the era’s increasingly commercial trends. In the summer of 1968 the opening of Documenta 4 had come under public attack for a conventional, market-driven agenda that was felt to represent inadequately the art of the '60s. With the exception of some environments neither space nor money was available for new media: an event involving performance and sound art,… Leer más

Venice, CA.: Lapis Press., 1993. Contents loose within a red and black plaid blanket and housed in a hinged plywood box as issued. Title hand-painted onto front cover of box. Single leaf-shape marquetry inserts to both lid and rear board of box (the original plan, which never materialised, was to insert a compass in each cover so that the books would only open when pointing north).. Complete as issued with 34 unique pieces including colour and black-and-white photographs, collages with photographs and found objects, manuscripts, original drawings, a monoprint, an acrylic on canvas, watercolours, images stitched onto felt, etc. Original edition of the rarest of Wegman portfolios, limited to just 20 copies. Numbered and signed by Wegman on a certificate, which together with a printed inventory of the box’s contents, is inserted in an envelope pasted to the inside of the box’s lid. Each copy of the Field Guide to North America is unique, made up of watercolours, collages, paintings, drawings and… Leer más

New York.: Something Else Press., 1967. Wooden board front cover, with text by Dick Higgins and justification statement printed on front; rear cover is sheet of white acrylic plexi. All sheets loose as issued, and bound together with the original belt strap wraparound.. (50.8 x 60.4 cm).. With five colourless clear acrylic sheets on which several words are printed, each in a different colur (red, brown, yellow, turquoise, and silver). Allan Kaprow’s kidnap-scenario happening Calling was first performed in 1965. Participants, many of them artists and friends of Kaprow, were assigned roles in the scenario. On Saturday, August 21, 1965, three participants were picked up from a roadside in New York, wrapped in aluminium foil and driven to a public parking meter. The drivers of the cars were replaced and the packaged participants were unwrapped from the foil and rewrapped in laundry bags. They were picked up by a second car, driven to New York’s Grand Central Station and abandoned, propped up against… Leer más

New York.: Ronald Feldman Fine Arts., 1977. Loose as issued in original grey cloth paper-lined box.. (27 x 22 cm).. Leaf with title, leaf with introductory text, 10 leaves with section titles and 36 original colour photographs, each with leaf of descriptive text. From the edition limited to 100 copies, with each photograph stamped verso by the artists and numbered and signed by the publisher. The Russian conceptual art dissidents and collaborators Vitaly Komar and Alexander Melamid were trained originally - as were all of their peers - as painters in the Socialist Realist tradition. Increasingly disenchanted with a regime and society that they felt oppressive, the two were expelled from the Artists’ Union for the crime of ‘distortion of Soviet reality’ in 1973. In 1974 the pair were arrested and had work, together with other nonconformist artists, destroyed by the government in what became known as the ‘Bulldozer Exhibition’. The pair began to receive international recognition and were… Leer más

Milan.: Galleria Schwarz., 1964. Loose as issued in original wrappers. Housed with the rolled scroll in original black cloth-covered drop-back box with red cloth inner lining. Suite housed in larger matching folio box.. (33 x 23.5 cm).. pp. (84). Illustrated with 10 original lithographs by Man Ray & two original lithographs by Marcel Duchamp. One of Duchamp’s lithographs, the ‘Certificat de lecture’ [Ref. Schwarz no. 592], is rolled as issued, and his other lithograph ‘Four Readymades’ [Schwarz no. 591] is printed together with one of the Man Ray lithographs on a separate folded sheet. The other nine lithographs of Man Ray are issued en-texte within the book. Published in an edition of 125 copies, signed by Duchamp, Man Ray, and Arturo Schwarz on the numbered colophon. This copy one of 10 deluxe examples with an additional suite of the nine lithographs by Man Ray published in the book, here printed in bistre and each signed in pencil by Man Ray. Also present in this deluxe set is another… Leer más

Munich / Paris.: Galerie Heiner Friedrich / Yvon Lambert., 1975. Publisher's wrappers. Small brown stain to upper spine.. (32 x 24.6 cm).. pp. (28). En lisant la Lorelei was installed as part of Broodthaers’ legendary “Eloge de sujet” show at the Kunstmuseum Basel in November 1974. This artist book was published as a result the following year. Published in an edition of 116 copies, the book was intended to be signed by Broodthaers, but due to his untimely death the copies are signed with the estate stamp: “Estate Marcel Broodthaers”. Includes a foreword by the artist and the text of Heinrich Heine’s poem “Die Lorelei”, in German and French on opposite pages. Illustrations consist of seven full page facsimiles of excerpts from German and French stock exchange tables, six pages of drawings incorporating decals for commercial artists, and six pages of reproductions of 19th century graphic images of the Lorelei rock and vicinity. In the romantic Rhine Valley near the town of St.… Leer más

St. Gallen / Lage (Lippe).: Erker-Verlag / Edition Haberbeck., 1979. All sheets loose in original plywood slipcase with drawer.. Portfolio (49 x 49 x 3.5 cm); prints (46 x 46 cm).. The portfolio consists of 17 offset prints after photographs by Lothar Wolleh, 15 of which are printed over in white screenprint to resemble white paint. There are three pages of printed manuscript text by Uecker, and a sheet of text by Eugen Gomringer. Published in an edition of 920 copies, this is one of 100 deluxe copies with an original “Papierzerstörung” or paper destruction, signed by Uecker and numbered from the edition of 100. Additionally, in this deluxe edition, all the other sheets are also numbered and signed by Uecker on the verso, except for the colophon sheet which is signed in pencil by both Uecker and Gomringer. [Ref. Van der Koelen - Günther Uecker. Opus Liber. Verzeichnis der Bibliophilen Bücher und Werke, pp. 214-215].

London.: Professional Prints. Ltd. / Petersburg Press., 1972. Sheets loose as issued in original orange cloth-covered drop-back box, with artist’s embossed signature on the front.. Each image (14.8 x 10.5 cm.); sheet (25.1 x 20 cm).. Two title plates, 2 mounted photographic plates by Hannah Wilke + 50 offset colour lithographs. Special deluxe edition, a complete set of 50 mounted offset colour lithographs, each reproducing miniature notebook pages by Claes Oldenburg. Each of the prints are numbered and initialled by Oldenburg on the mounts, and each with acetate overlays printed with text. This deluxe edition was published in an edition of 100 copies + 20 additional proof sets. [Ref. Axsom & Platzker - Printed Stuff: Prints, Posters, and Ephemera By Claes Oldenburg: a Catalogue Raisonné 1958-1996, no.78].

Tokyo.: Gallery Décor., 1972. Loose as issued in original black and neon pink portfolio, housed in the original outer cardboard mailing box with string ties. Dampstaining to left edge of box. (47 x 62 cm).. Title + half-title sheets, printed red and black on yellow card. Complete with 12 original screenprints by Keiichi Tanaami, each numbered, dated and signed by the artist in pencil. Few pf the prints with a small area of staining to lower left corner of sheet and foxing to right edge, not affecting the image. Overall a very good set. Keiichi Tanaami was born in Tokyo in 1936 and graduated from the college of design at Musashino Art University. Since the 1960s he has traversed the boundaries of media and genre, active in graphic design and illustration, and also animation, experimental film, painting, and sculpture. During the ’60s, Tanaami’s works played a significant role in the introduction of pop art and psychedelic culture into Japan. He designed, for instance, album covers for the… Leer más

Berlin.: (Self-published)., 1967. Pink wrappers, with title label pasted to front cover.. (19.5 x 14.8 cm).. 58 leaves, mostly illustrated with pencil drawings. Artist’s book, a joint work by the Fluxus artist Tomas Schmit, together with Maruta Schmit, and Ludwig Gosewitz. They distributed this phallic-obsessed work under the pseudonyms Regula Grind, Luis de Morales and Erwin Siewin in order not to be prosecuted for pornography. The phallic words and phrases, stamped on most of the pages in lower case, ""der einphall"", ""der abphall"", ""das ist häufig der phall"", ""besagter phall"" and so on, are then illustrated with pencil drawings, in some cases with touches of red pencil or opaque white or with applied scraps of coloured paper; ""ein literarischer phall"" has a small collage made of yellow glossy coloured paper with the typewritten inscription ""phallobstzönales”. The picture titles themselves are stamped, mostly as signatures. The books are therefore completely hand-made, the… Leer más

Wuppertal.: Verlag Kalender (Hansjoachim Dietrich & Bernd Ebeling)., 1960. As well as going on to publish several landmark books and texts under their imprint Verlag Kalender, Hansjoachim Dietrich and Bernd Ebeling began their collaboration by publishing their own magazine, which in turn provided them with an outlet for their own artistic endeavours. [No complete institutional holdings found worldwide. WorldCat lists only the first issue at Hofstra University Library, NY]. Nr. 1 (1960) (27 x 21.7 cm). Screenprinted wrappers, with hand-painted additions, signed in pencil by Bernd Ebeling on the rear cover. Rubber-stamped by both artists on inner front flap, Kalender stamp on rear flap. Contents, loose as issued, consist of a woodcut illustration printed on brown paper, and an original black-and-white photograph, both signed in pencil by Dietrich. Nr. 2 & 3 (27.5 x 21.1 cm). Large woodcut by Dietrich, printed on cream paper, and folded to produce the wrappers. The print is signed in pencil by… Leer más

Paris.: Editions du Soleil Noir., 1968. Original printed wrappers, mild creasing to spine; original black cloth slipcase with inset clear plastic window.. (19.2 x 14.3 cm).. pp. 137, (5). Published in an edition of 2730 copies, with this one of 150 copies with an original work by Lucio Fontana, on oval of pink flexible plastic rhodoid with perforated holes in a central vertical line. The work is numbered and scratch-signed by Fontana with his initials.

Berlin., 1973. (24 x 31.5 cm).. A 95-page loose sheet photostat of Otmar Bauer's proposed autobiography which was to be entitiled ""Für den Augenblick, den ersten Teil"" (For the moment, the First part). Otmar Bauer (1945-2004) was a major figure in Viennese Aktionism, a colleague and compatriot of Otto Muehl, and an establishing member of the idyllic 'AAO' or Actions-Analytical Organisation. Until this day his autobiography remains unpublished. This copy of the typescript is presented loose in a green card file folder. On the cover of the folder is a frenzied original drawing by Dieter Roth, executed using different coloured pens (31.5 x 24 cm). The drawing extends over a single side of the folder, across the opening flap. The heavy repetitive nature of much of Roth's penwork leads on occasion to fantastically expressive scratches on the surface of the card. The drawing is signed in green pen by Roth in the lower right of the composition, and he has written a dedication along the left-hand edge,… Leer más

Heidelberg.: Edition Staeck., 1971 - 1972.. 4 volumes. Original grey wrappers, stapled. Front covers stamped with titles. Loose in the original cardboard envelope portfolio, with taped edges as issued, and artist’s name stamped on front.. Various formats: (9.3-22 x 7-14.8 cm).. Feldmann’s Bilderhefte (published between 1968 and 1974) are small, staple-bound booklets in various formats with grey cardboard covers, rubber-stamped with the author’s surname and title, indicating the number of pictures they contain (for example, 3 Bilder or 5 Bilder). Printed in black-and-white on offset paper, without text, the picture books bring together everyday phenomena. These small artist’s books consist of reproductions of both found and self-produced black-and-white photographs. By making series of these images of common objects and situations, Feldmann at once neutralises and links them. His work gives credit to the ethos of mass production and to amateur photography. By giving equal value to all types… Leer más

Paris.: Cobra-Bibliotheek., 1950. Loose as issued in original thin card folder, with additional hand-coloured illustration by Karel Appel. Cover slightly browned, overall a very good copy.. (27.3 x 22 cm).. pp. (16). With the seven illustrations, each hand-coloured by Karel Appel. He has also hand-coloured the illustration on the front cover. One of the landmark early Cobra artist’s books. Karel Appel and Hugo Claus created this book at the end of 1950, when they were both living in Paris. It was published as the first number of the Cobra-bibliotheek’s ‘Hand-reeks’ (Hand Series). The book consists of seven hand-written texts and drawings, which were subsequently duplicated using a photocopying system. Karel Appel then coloured the illustrations by hand. His work exhibits the playful, colourful shapes that were inspired by children’s drawings and which are so typical of the work of the Cobra artists. Advance subscribers could receive this book for just three guilders, but unfortunately there… Leer más

Mönchengladbach.: Städtisches Museum Mönchengladbach., 1974. Cardboard box with text by Johannes Cladders on card insert, and cardboard leporello with 12 black-and-white offset illustrations.. Box (20.3 x 16 x 2.8 cm).. Exhibition catalogue in the form of a box. The inner side of the lid is spray-painted by Richter with grey anti-rust paint. This copy with slight dent to the lid, with resultant slight cracking to spray-paint. From the edition limited to 330 numbered copies. [Ref. Butin & Gronert - Gerhard Richter Editions, no.54].

(Cologne)., 1960. The Ballettabend or “Ballet Evening” took place in the auditorium of the Friedrich-Wilhelm Gymnasium in Cologne on the 5th of October 1960. The participants were none other than the great dancer and choreographer Merce Cunningham and his dance partner Carolyn Brown, together with the composer John Cage and pianist David Tudor. The evening’s production concluded with “Music Walk with Dancers” pairing a new duet for Cunningham and Carolyn Brown with John Cage’s indeterminate work “Music Walk”. Cunningham and Brown performed a series of movement tasks such as waltzing, skipping, running, dancing a softshoe, doing warm-up exercises, balancing on a dolly, and sitting in chairs. Cage and David Tudor walked about the space playing piano. This first set of eight photographs (each with a printing date stamp of 08.11.61 on verso) show John Cage either backstage, or in preparation for the performance. These include: three informal photographs of John Cage, taken backstage,… Leer más

(1963).. (15.6 x 13.5 cm). A unique work by George Brecht. Consists of a piece of card, partially wrapped in coloured tissue paper which is fixed to the card with four sections of brown masking tape along each side. Brecht has written in pen along each section of tape: “the breathing hills 27 IX / Diter Rot just visited / said you wanted some pieces / for Kalender, Regards George”. In the centre of the card is mounted a small collage, an image of a cat with a ball of wool.

London.: Charles Booth-Clibborn / Paragon Press., 1991. Publisher’s full black cloth, blind-stamped on both front and rear boards. In original plain white card box.. (31 x 55 cm).. pp. (32). Printed by hand using off-set lithography on glossy paper. Artist's book with 26 offset lithographs, which documents a ""twelve day walking journey in Ladakh, crossing twelve mountain passes, from Lamayura to Dras, Northern India, July 1984"" and the repeated ""no thoughts counting paces, Kent, England 1988, 1989, 1990”. The narrative sequence of these two events is realised in the pair of images on each double page opening. Repetition of text and line of the route on the left hand page is juxtaposed with a graphic representation of the sky on the date of the seven paces in question on the right hand page. Published in an edition of 35 copies (+ 10 additional proof copies), each numbered and signed in pencil by Fulton on the colophon page.

Düsseldorf.: Otto Piene & Heinz Mack., 1958 - 1961.. Three volumes. Original wrappers. A few handwritten annotations in the margins, overall a good set.. Each (20 x 21 cm).. Complete set of the magazine produced by the Düsseldorf-based Zero group. The first two issues are catalogue-magazines, corresponding to the seventh and eighth Abendausstellung or ‘Night Exhibitions’ organised by the Zero group. Issue 1, devoted to the monochromatic exhibition Das Rote Bild, features articles and statements by Otto Piene, Heinz Mack, and Yves Klein, along with responses by several artists to the question, “Bewirkt die gegenwärtige Malerei eminente formung der Welt?”, or ‘Does contemporary painting influence the shape of the world?’. Issue 2 is based on the Zero exhibition entitled ‘Vibration’, and contains texts by Max Bense, Adolf Zillmann and the two editors. The third and final issue is more substantial. It chronicles Jean Tinguely’s ‘Homage to New York’, and includes a reprint of the… Leer más