NY ART BOOK FAIR - PRINTED MATTER

Artist Collective
Miriorama 12,1962, 1962
3869-BK

7 3/4 x 7 3/8 in. (20 x 19 cm)

ANCESCHI, BORIANI, COLOMBO, DEVECCHI, VARISCO - GALLERIA DEL CAVALLINO

In 1959 Giovanni Anceschi, Davide Boriani, Gianni Colombo, and Gabriele Devecchi meet each other at the Academy of arts of Brera, where they take part to the experiences of the Milan avant-garde of those years. They participate with Piero Manzoni and Enrico Castellani to the organization and the activities of the galleria Azimut. Here they meet, among others, Heinz Mack, Enzo Mari, Manfredo Massironi, the group Motus (later known as GRAV), with whom they reunite for the activities of Programmed Art and New Tendencies.



On September 1959 they exhibit mixed material and monochrome artworks at galleria Pater in Milan. After becoming fully aware of the tendency towards a tabula rasa, which was typical to the visual arts of those years, they felt the need to take this trend to its extreme consequences and to overcome it through the actions of what had become, in fact and since long, a group. During a “constant seminar” made of discussions – mostly held at the tables of bar Titta in Brera –, Boriani proposes to the group the production of “variable works”, “in four dimensions”, where the time component is perceivable in the unpredictable and irreversible variation of the image. The variation is obtained through the movement that modifies the spatial structure of the artwork over time. This proposal opens a phase of collective debate, which produces a series of scenarios. Firstly, the need of a random component emerges, in order to break the cyclical mechanical movement. This implies to allow the audience to actually intervene in the work. Involving the different contributions, the group prepares a series of programmatic texts with a strong philosophical side. These positions are summed up in the declaration “Miriorama 1” of October 1959, which can be described as a theoretical platform and a technical manifesto. Gruppo T (Anceschi, Boriani, Colombo, Devecchi) is founded on these bases. The collective and solo manifestations of the group are all entitled “Miriorama” (never-ending visions, from the Greek “orao”, to see, and “myrio”, which denotes a nearly uncountable quantity), numbered consequently (1-14) in order to stress the continuity of a shared program, which guides the work of the group for many years.



Referring to unrealized utopias proposed by historical avant-garde movements, Gruppo T has opened research scenarios and new operational methods. They started by producing works, both collective and individual, based on the effects of variation in material, surface, color, etc. These works employing novel methods, techniques, and material, are a sort of “fields of happenings”, without any personal sign of the artist, and open to the intervention of the audience.



Miriorama 1, the first manifestation of the group, was organized in January 1960 at galleria Pater in Milan. On this occasion the Declaration was published. Four solo exhibitions followed, one per each artist of the group (Miriorama 2 to 5).



Miriorama 6 in 1960 is the second group exhibition and marks the presence of Grazia Varisco as a new member of the group.



On the occasion of Miriorama 7, at galleria San Matteo in Genua in 1960, the second theoretical declaration of the group was published: it is a text where the word Miriorama is repeated never-endingly. At Miriorama 8 in 1960, Gruppo T exhibits an edition of ten copies of five multiples, numbered and signed, at the shop of Bruno Danese in Milan (the multiples were re-edited by Alessi in 2010). For Miriorama 9 in 1961, Gruppo T sends fifteen ultra-light artworks to Minami gallery in Tokyo, upon the invitation of the artist Shuzo Takiguchi. Miriorama 10 in 1961 at galleria La Salita in Rome was accompanied by a text by Lucio Fontana. Miriorama 11 at Studio N in Padua in 1962 featured a presentation by Bruno Munari. The catalogue of Miriorama 12 at galleria del Cavallino in Venice in 1962 was a folding combinatory poem by Nanni Balestrini.



Gruppo T presents “programmed graphics with cybernetic criter

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Artist Collective
Miriorama 6, 1960
3868-BK

12 1/8 x 8 1/4 in. (31 x 21 cm)

Galleria Pater, Milan, 3-6 March 1960- ANCESCHI, BORIANI, COLOMBO, DEVECCH

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John Baldessari
The Telephone Book (With Pearls), 1988
1704

8 1/4 x 5 3/4 in. (21 x 14.8 cm)

The book features a series of cropped movie stills depicting either a telephone or pearls. Signed and dated by the artist in pen. 62 pages, unpaginated, including 43 black and white illustrations, some with color spots. Gent, Belgium: Imschoot, Uitgevers for IC, 1988. First Edition. 8vo, wraps

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Alighiero Boetti
111, 1994
3715-BK

Signature red cloth cover with photocopies of newspapers and some of his earlier pieces . Edition of 160 copies signed and numbered. 30.5x21.5cm

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Anna HellsgÁ¥rd Christian Gfeller
Quantumland 1, 2015
6252-BK

9 x 6 11/16 in. (23 x 17 cm)

Unique screen printed book, 22 pages, all pages glows in the dark. Quantumland 1 & 2 are two twin books containing each 32 original monotypes. The pages are overprinted with a layer of transparent phosphorescent paint. Phosphorescence's slow time scale of re-emission of light is associated with "forbidden" energy state transitions in quantum mechanics. And of course, as in quantum mechanics, you can appreciate the Doppelgänger books in different states: you can "read" them in daylight as well as in obscurity. Turning a flash light on and off will revel the duality of the work like an x-ray.

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Anna HellsgÁ¥rd Christian Gfeller
Quantumland 2, 2015
6262-BK

9 x 6 11/16 in. (23 x 17 cm)

Unique screen printed book, 24 pages, all

pages glows in the dark. Quantumland 1 & 2 are two twin books containing original monotypes. The pages are overprinted with a layer of transparent phosphorescent paint. Phosphorescence's slow time scale of re-emission of light is associated with "forbidden" energy state transitions in quantum mechanics. And of course, as in quantum mechanics, you can appreciate the Doppelgänger books in different states: you can "read" them in daylight as well as in obscurity. Turning a flash light on and off will revel the duality of the work like an x-ray.

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Anna HellsgÁ¥rd Christian Gfeller
Sans Titre, 2015
6242-BK

18 1/2 x 13 3/8 in. (47 x 34 cm)

A unique book featuring 32 original art works. Each piece is a screen printed monotype in which we push the boundaries of the serigraphy technique as well as experiment with forms, colors, layers and composition. The title "SANS TITRE" (Untitled in French) is a self-referential joke. It plays with a conceptual mise en abyme as well as refers to the textual whole of the work.

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Joesph Cornell
Maria, 1954
1398

[Queens, NY]: Salamander Editions [Joseph Cornell], (1954). First Edition. Small 8vo. Original printed stapled wraps. MARIA (1954) was privately printed by Cornell in an edition of about 100 copies and given away to his friends as presents. The work was inspired by nineteenth-century opera singer Maria Malibran-Garcia and was produced with the same precision and care Cornell brought to his other work. It is in many ways a Cornell work in book form with the appropriation of text, the use of a decorative headpiece from yet another book, and dealing with one of Cornell's signature obsessions.

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Herman DeVries
On The Beach-Morocco 2006, 2006
3548-BK

66 pages ; edition 36, numbered and signed. Title-page and 33 pages each with a photo in colour, back-page with imprint, numbering and signature, japanese binding, in white cardboard box with title on spine. 32 × 21 × 2.7 cm

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Artistes Divers CONTEMPORARY
Kalendar 63, 1963
5952-BK

(19 x 14 cm)

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Artistes Divers CONTEMPORARY
Galerie Kopke Copenhagen, 1961
6222-PR

(20.5 x 28.7 cm)

Flyer

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Reinhard Dohl
Bedepequ, 1967
5922-BK

12 9/16 x 13 3/8 in. (32 x 34 cm)

Edition Hansjorg mayer, Stuttgart, Germany

Copy n 18 of 200

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Fischli, Peter and Weiss, David
Bericht uber den kunstlerischen Schmuck im Neubau der Borse Zurich, 1995
1484

Book signed by both artists along with a photograph signed on the back.

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Adam Fuss
All, 2007
1992

Small Folio. 14 four-color plates; bound tissue interleaving; stamped in silver holograpic foil; white paper covered boards; white hande-made paper jacket, stamped in silver holographic foil; fitted, protective vinyl.

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Adam Fuss
ARK, 2007
1999

Large folio; 34 UV coated, color photographs; full-back leather; blind-stamped colophon on orange hand-made paper, laid into black hand-made paper covered clamshell box, black ribbon tie; illustrated label affixed to box recto.

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Francesca Gabbiani
White Book, 2005
2131

FIRST artist's book of white, pop-up landscapes inspired by the popular non-fiction novel Devil in the White City by Erik Larson, an account of the architect responsible for the 1893 Chicago Worlds Columbian Exposition and the serial killer who worked in its midst. Gabbiani has painstakingly cut in white paper miniature the architectural structures, most notably the Ferris wheel, that reveal the magical appeal and horrifying events of that Worlds Fair. Edition of 20, this being copy number 18.

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Group Typo-Eye
Moji no Ehon, 1977
3753-BK

A complete set of 12 books on how to learn Kanji by the Typo-Eye Group- okuizumi motoaki, kaniso yukio, kuwayama yasaburo, baba yuji, mizui tadashi, and yoshida yoshihiro.

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Andreas Gursky
Montparnasse, 1995
3668-BK

19 1/2 x 11 in. (49.5 x 28 cm)

Two square quarto vols., and oblong folio photo-reproduction. Original silver coated wrappers, printed in black, original silver coated portfolio, printed in black, all laid into the original silver papered box. A fine copy, with the print in fine condition. First edition, offset lithograph in color, on wove paper, with text book and book of reproduction of blown up images. Andreas Gursky is a German photographer best known for his vast color architectural landscapes. His point of view is often so far from the object that it is difficult to tell what it is. In this photograph, hundreds of windows simply become tiny squares and lose their meaning as architecture.

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Andreas Gursky
Andreas Gursky, 1989
4394-BK

Krefeld, Germany: Museum Haus Lange, 1989. First Edition. Small oblong quarto. SIGNED by Andreas Gursky on the title page. A catalogue for Gursky's first exhibition, held at Museum Haus Lange in Krefeld, Germany, November 5 – December 12, 1989. With an invitation and a press release for the show laid in. Gursky's first and rarest book, featuring 18 color images shot between 1984 and 1989, prior to digital alteration. Although not widely known (most likely due to the restrained edition size), this catalogue marks the high point of Dusseldorf School color photography. Fine in plain stapled wrappers in a close to fine card jacket with French flaps, very lightly soiled along the spine edge and rear panel.

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Guy Debord & Asger Jorn
Memories, 1959
3784-BK

The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Letterists, setting up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade (Howling In Favour Of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between. Credited to Guy-Ernest Debord, with structures portantes ('load-bearing structures') by Asger Jorn, the book contains 64 pages divided into three sections. The first section is called 'June 1952', and starts with a quote from Marx: Let the dead bury the dead, and mourn them.... our fate will be to become the first living people to enter the new life. The second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. The work contains two separate layers. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The second layer is printed using coloured inks, splashed across the pages. These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.

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Ludwig Harig
Ein stereophones horspiel, 1967
5902-BK

12 9/16 x 13 3/8 in. (32 x 34 cm)

Edition Hansjorg Mayer, Stuttgart, Germany

Copy n 196 of 200

signed

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Maurice Henry
Le petit Incendiaire, 1965
3828-BK

11 x 11 in. (28 x 28 cm)

hommage a Rene Daumal. Copy n 62 of 111. edition MAT MOT n 3. Signed by the artist

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Anselm Kiefer
DIE DONAUQUELLE. [The Source of the Danube]., 1978
3498-BK

Artist's book. Black and white. Cloth hard covers. Stitch bound. Full-page black and white photographs of a brick-walled 'well' in a rubble-filled warehouse setting. Edition of 500 copies. Very good condition. 12 x 8.25". Unpaginated. Photography.

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Guillermo Kuitca
Puro Teatro, 2003
2160

15 5/8 x 16 in. (40 x 40.6 cm)

Portfolio of 12 loose prints using hard ground etching and spit bite aquatint techniques on Rives de Lin and natural Campi papers from the Shikibu Paper Mill. The plates were made in the artist's studio in Buenos Aires during August, 2002. Two pages of text written by the artist. Designed and printed by Jacob Samuel in Santa Monica, CA, with assistance from Eric Ziemann. The edition is limited to 25 signed and numbered copies, and six sets of artist's proofs. Numbers 1-10 are bound books; numbers 11-25 are loose in portfolio boxes. Edition of 25 copies

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Ugo la Pietra
AD OGNUNO LA PROPRIA REALTA"To each his own Reality", 1972-74
4380-BK

16 x 12 in. (40.5 x 30.5 cm)

A conceptual artists book with original photographs throughout, published by Jalik & Colophon in an edition of only 30 copies which were never completed, this is copy #1/30 and comes directly from the Artist. 40,5 x 30,5 cm. In the Sixties Ugo La Pietra was one of the first artists to use photography as a medium for artistic operations. His images, often composed and integrated by written and manual intervention, are the result of a careful exploration of the contradictions of life and living. These images, starting from the urban environment degraded and alienating, change the perspective, the perception and our way of life, to make out beauty, possibility of intervention and change, happiness.

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Sol Lewitt
Crownpoint, 1980
1956

11 x 11 in. (27.9 x 27.9 cm)

Artist book predating his famous Autobiography book. Here he photographs the printing studio of CrownPoint Press where he does many of his printed work. Bound book of photo etchings 40 pages, signed in a limited edition of only 25 copies.This book is a record of the way Crown Point Press looked at the time the artist was in residence here. On one of the pages, for example , are photographs of several works by Sol LeWitt which were pinned up as proofs on the studio walls. On the facing page are prints made by other artists who have worked at Crown Point Press . In making this book, Sol LeWitt instructed the printers what the subject matter and general composition of the images should be. He then arranged the images into pages . "CrownPoint" was created completely at Crown Point Press . This work includes the photography, the making of 300 line screened phototransparencies , etching the images onto the plates, hand printing and binding the pages into book form.

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Gordon Matta-Clark
Circus, 1978
1684

Illustrated by Over 25 b/w Illustrations. Survey of the project adjacent to the Museum of Contemporary Art in Chicago, including plan and photo-collages by Matta-Clark; essay by Judith Russi Kirshner.

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Gordon Matta-Clark
Splitting, 1974
1683

Staple bound artist book, 32 pages and one fold out page at end, photos of a house on Long Island, split down the center. "Splitting" is remembered primarily through photographs Matta-Clark took of the finished work and reproduced in a small book. In addition, the excised corners of the building have been saved, serving as positive relics of the work's negative space. These images and souvenirs, as Matta-Clark called them, are the constituents of an exhibition called "Splitting" at the Holly Solomon Gallery.

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Gordon Matta-Clark
Walls paper, 1973
1676

160 horizontally split pages with colored reproductions of wall papers found in demolished houses. Illustrated wrappers. This well known book, "inevitably made artist's books, and this, one of his best known, is a 'documentary' work that is a close adjunct to some of his actual sculptures," according to Parr and Badger.

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Miller & Shellabarger
Butter Book, 2007 (Challenge), 2008
2321

butter wrappers (various brands), butter boxes (various brands), linen cord, linen tape, book board, rice paper, satin ribbon, and a bone clasp

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Miller & Shellabarger
Butter Book, 2006 (Jewel), 2007
2322

butter wrappers (various brands), butter boxes (various brands), linen cord, linen tape, book board, rice paper, satin ribbon, and a bone clasp

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Franz Mon
Ainmal nur das alphabet gebrauchen, 1967
5912-BK

12 9/16 x 13 3/8 in. (32 x 34 cm)

Edition Hansjorg mayer, Stuttgart, Germany

Copy n 92 of 200

Signed

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Jonathan Monk
None of the Buildings on Sunset Strip, 2002
1437

book with signed original photograph

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Multiple Artists IT
Set of six Edizione Cenobio Visualita artist's periodicals., 1979-84
4522-BK

Edizione Cenobio Visualita Ass., Milan, Italy. 1979 - 1984. NUMERO UNO a cura di Ben. numero un realise par Ben. Edizione Cenobio Visualita Ass., Milan, Italy. June 1979. Artists' periodical. Black and white. Wrappers. Staple bound. Art direction and design: Aldo Spinelli. Artists included: B. Vautier, S. Freud, G.E. Debord, J. Kosuth, J. Charlier, J. Lizene, B. Ghiselin, A. Spinelli, B. Amiard, Daligand, Thenot, D. Buren, B. Venet, J. Marin, S. Kaltenbach, J. le Gac, G. Chiari, Pineau, H. Flynt, K. Malevich, A. Roussel, A. Artaud, Tomek, S. Kukowski, A. Cravin, F. Picabia, E. Satie, J. Cage, R. Johnson, G. Brecht, J.C. Guillaumon, A. Dias, B. Dimitrijevic, V. Agnetti, A. Kaprow, A. Warhol, Bisoz, J. Lemerre, J. Beuys, S. LeWitt, M. Pleynet, G. Maciunas, M. Mac Luhan, H. Lefebvre, P Manzoni, F. Picabia, Fluxus and Shen-Hui. Text in Italian, French and English. Very good condition. 11.75 x 8.25". Unpaginated. NUMERO DUE a cura de Bernar Venet. Number two edited by Bernar Venet. Edizione Cenobio Visualita Ass., Milan, Italy. June 1980. Artists' periodical. Black and white. Wrappers. Staple bound. Photography: John Abbott, Eeva Inkeri, Andre Morain, Harry Shunk and Grant Taylor. Art direction and design: Aldo Spinelli. Artists included: A.Rodchenko, K. Malevitch, W. Strzeminski, Kobro, T. Van Doesburg, G. Vantongerloo, R.P. Lohse, M. Bill, F. Morellet, N. Kricke, S. LeWitt, D. Flavin, D. Judd and B. Venet. Text in Italian, English and French. Very good condition. 11.75 x 8.25". Unpaginated. NUMERO TRE a cura di Vincenzo Accame. number three edited by Vincenzo Accame. Edizione Cenobio Visualita Ass., Milan, Italy. June 1981. Artists' periodical. Black and white. Wrappers. Staple bound. Art direction and design: Aldo Spinelli. Included: V. Accame, K. Malevic, Laurence Sterne, Arthur Schopenhauer, Lewis Carroll, Filippo Tommaso Marinetti, Paolo Buzzi, Bruno Munari, Bruce Nauman, Mel Bochner, Guido Ballo, Luigi Veronesi, Roberto Sanesi, Silvio Ceccato, R.D. Laing, Guido Morselli, C.E. Gadda, Arakawa, Alberto Faietti, Karl Krolow, Hermann EsRichter, Karlheinz Stockhausen, Earle Brown, Gianni Colombo, Mauro Staccioli, Sol LeWitt, Aldo Spinelli, Gino De Dominicis, Piero Manzoni, Giovanni Anselmo, Timm Ulrichs, Giuseppe Di Napoli, S. Lombardo, Gianni Melloni, Gianni Robusti, Alik Cavaliere, Vincenzo Ferarri and Maurice Blanchot. Text in Italian and English. Very good condition. 11.75 x 8.25". Unpaginated. NUMERO QUATTRO a cura di Sol LeWitt. number four edited by Sol LeWitt. Edizione Cenobio Visualita Ass., Milan, Italy. June 1982. Artists' periodical. Black and white. Wrappers. Staple bound. Art direction and design: Aldo Spinelli. Artists included: John Hilliard, Douglas Huebler, Ian Hamilton Finlay, Zvi Goldstein, Stephen Willats, Dotty Attie, Laura Grisi, Antoni Mikolajczjk, Ryszard Winiarski, Ryszard Wasko, Umberto Raponi, Jenny Holzer, Jean C. Pignozzi, Afranio Metelli, Mike Glier, May Stevens, Charles Gaines, Gene Beery, Ingeborg Luscher Ewa Partum and Pat Steir. Text in English and German. Very good condition. 11.75 x 8.25". Unpaginated. NUMERO CINQUE a cura di Giuseppe Panza di Biumo. number five edited by Giuseppe Panza di Biumo. Edizione Cenobio Visualita Ass., Milan, Italy. June 1983. Artists' periodical. Black and white. Wrappers. Staple bound. Photography: G. Sinigaglia and G. Colombo. Graphics: P. D'Agostino. Artists included: Carl Andre, Larry Bell, Dan Flavin, Jene Highstein, Robert Irwin, Donald Judd, Sol LeWitt - Richard Nonas, Richard Long, Robert Morris, Bruce Nauman, Richard Nonas, Maria Nordman, Eric Orr, Richard Serra, James Turrel and Doug Wheeler. Text in Italian and English. Very good condition. 11.75 x 8.25". Unpaginated. NUMERO SEI a cura di Arturo Schwarz. number six edited by Arturo Schwarz. Edizione Cenobio Visualita Ass., Milan, Italy. June 1984. Artists' periodical. Black and white. Wrappers. Staple bound. Art direction and design: Aldo Spinelli. Artists included: Gianfranco Baruchello, Alighiero Boetti, Alik Cavaliere, Ettore Colla, Flavio Costantini, Sergio Dangelo, Ugo Dossi, Lucio

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Bruce Nauman
LAAIR, 1970
4803-BK

12 x 12 in. (30.5 x 30.5 cm)

Castelli /Multiples Inc., New York, 1970. First edition. Square 4to.; illustrated throughout in color; printed wrappers;staple-bound. LAAIR was Nauman's follow up to CLEARSKY. He later said of the two books that, "CLEARSKY was a way to have a book that only had colored pages--pictures of the sky. I like the idea that you are looking into an image of the sky, but it is just a page. LAAIR was the same idea, but it is also a response to CLEARSKY using polluted colors instead."

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Giuseppe Penone
Svolegere la propria pelle (Developing One's Own Skin), 1970/71
3678-BK

8 3/8 x 8 1/2 in. (21.3 x 21.7 cm)

104 pages, Sperone Editore, Turin, 1971. Penone mapped his entire body with hundreds of photos taken when pressing a sheet of glass against different parts of his body, assembling assembling the resulting images into grids. In these photographs the subject is seen “unrolling one's skin against air, water, earth, rock, walls, trees, dogs, handrails, windows, roads, hair, hats, handles, wings, doors, seats, stairs, clothes, books, eyes, sheep, mushrooms, grass, skin...” wrote the artist, reflecting on the quantity of voluntary and involuntary signs that bodies disseminate and spread onto different things. Unspecified edition size.

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Jack Pierson
All of a Sudden, 1995
1686

Quarto, unpaginated, colored illustrations throughout. Illustrated paper over boards. Design Jack Pierson and Tony Morgan. Mint copy. First and limited edition. One of 80 (#3) numbered and signed copies with original signed C-print. Print loosely laid in. In publisher's printed paper over boards slipcase.

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Lukas Pusch
HURRA! 1914-1918, 2014
4497-BK

Copy 3 of 10. Hurra! is a panorama of the First World War and illustrates the continuity of idiocy, political and military brutality, chaos and cynicism that has lasted to the present day. Even as the world celebrates the 100th anniversary of WW1, Hurra! demonstrates just how little the world has really changed.

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Lukas Pusch
Kaiserwalzer, 2009
4460-BK

7 5/8 x 5 7/8 in. (19.5 x 15 cm)

Artist Book with original collages. Number 2 of 20 copies. The book documents all art works Lukas Pusch made in order by Austrias most tradiitional art fair located in the Viennese Hofburg. Puschs artworks were censured and a big scandal ensued.

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Dieter Roth
Piccadilly proof print, 1970
4712-OR

19 5/8 x 27 1/2 in. (50 x 70 cm)

Double sided screenprint on planographic printing (offset) four colors on white chromolux card, photomechanical reproductions of a picture postcard. Ex-collection Hans Sohm.

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Dieter Roth
Piccadilly proof print, 1969
4722-OR

19 5/8 x 27 1/2 in. (50 x 70 cm)

Double sided screenprint on planographic printing (offset) four colors on white chromolux card, photomechanical reproductions of a picture postcard. Ex-collection Hans Sohm.

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Stan Shellabarger
Untitles (Walking Book 5), 2008
2318

graphite, BFK rives, MDF

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Stan Shellabarger
Light Switch Book, 1998-19999
2320

Paper vellum, ink 29 sheets total in handmade box with light switch.

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Smithson, Uecker, Oppenheim etc.
Earth Art, 1969
5701-BK

Softcover exhibition catalog, unnumbered pages; good condition: covers are very clean and crisp; Jan Dibbets, Hans Haacke, Neil Jenney, Richard Long, David Medalla, Robert Morris, Dennis Oppenheim, Robert Smithson, Gunther Uecker.

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Michael Snow
Cover to Cover, 1975
2100

A photo-narrative featuring full-page reproductions of photographs of Snow by Keith Lock and Vince Sharp. Small 4to, photo-pictorial boards, slightly cocked; split at rear.

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Daniel Spoerri
Die Morduntersuchung, 1973
6212-OR

(21 x 29.7 cm)

With photographs from gerald Minkoff.
13 xenographies. Geneve, Ecart. Stapled.
Edition of 500.
Catalogue for the exhibition from Dec 20th 1973 til jan 31st 1974, Geneva

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Daniel Spoerri
Anekdoten zu einer topographie des zufalls. ( An anecdoted topography of chance). Topographie Anecdotee du Hasard, 1962
4015-BK

an anecdoted topography of chance contains the origina.l french version written with the help of Daniel Spoerri's good friend Robert Filliou and the anecdotes by his good friend Emmett Williams from the american version everything translated and enriched with further anecdotes by his equally good friend diter rot. 164 pages letterpress. 22 x 17 cm stitched softback dustjacket. Cover illustration by d. rot. Published by Luchterhand verlag Neuwied and Berlin.

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Daniel Spoerri
Topographie Anecdotee Du Hasard/ Anecdoted Topography of Chance, 1962
3752-BK

The Topographie Anécdotée du Hasard was printed as a small pamphlet of 53 pages plus a fold out map and index and was distributed as an advertisement for the exhibit. The Topographie Anécdotée du Hasard is more than just a catalog of random objects, however; read in its entirety, it provides a coherent and compelling picture of Spoerri's travels, friends and artistic endeavors.

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Mike & Doug Starn
Ani-San, samukaro? Omae samukaro?, 2007/2008
2174

40 pages with 19 B&W Illustrations, each wrapped in a unique vintage kimono fabric each having one photograph from the book on gampi paper with encaustic, signed and numbered housed in a bass wood box. A hand crafted bass wood Japanese box houses a unique signed photograph; inkjet on gampi paper, hand coated with encaustic, under which the book is found wrapped in an indigo vintage kimono fabric. The package is tied with red and white cords, each one with a small paper flag inscribed with a question from the title. The story reveals the significance of the book wrapped in a threadbare kimono under the snow. Each book is hand-made, thread bound using traditional Japanese techniques, with 19 photo- micrographs of snow crystals that were shot by the artists during snowstorms between 2004 and 2006. The images are printed on gampi paper, the back of each image is hand-painted with white acrylic and then finally the image is brushed with a single stroke of varnish. A signed colophon is inside the box.

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Wolfgang Tillmans
Concorde, 2008
3725-BK

Paperback. 160 x 240 mm (9 1/2 x 6 1/2 in). 128 pages. 63 colour photographs.

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Franco Vaccari
Viaggio sul Reno, 1974
4373-BK

color photographs reprinted of a journey

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Franco Vaccari
ESPOSIZIONE IN TEMPO REALE, 1973
4633-BK

(27.8 x 21.4 cm)

Renato Barilli Nuova Foglio Editrice, Pollenza.
Hardback cut flush with inside pages.
Introduction by Renato Barilli.
In a sense the publication of this book subverted Franco Vaccari original intention. At the 1972 Venice Biennale, he had created one of the most important exhibitions of the European conceptual art. Vaccari set up a photo booth and invited visitors to make photographs of themselves and the pin them up outside to create a continuously growing display assembled by those there to view it in “exhibition on Real Time, Vaccari was critiquing the whole idea of the artist as creator and the spectator as passive consumer of the spectacle – art as an adjunct of the consumer capitalism. This was instead an exhibition createdand 'curated' by the visitors, with the artist there merely to facilitate the 'work ' in a technical sense. Once the imagery was made and installed, it could then be contemplated, experienced and analyzed by those adding to it, with Vaccari himself abrogating his role as author. This dynamic changes though, with the 'book of the show' A book must be edited, sequenced and designed and someone must take the role - however lightly they hold the reins- of ‘auteur’, and Vaccari had to assume that responsibility. Like a catalogue or a live music recording, the book exists as a permanent record of an ephemeral event But a book can also become more interesting, an extension of the event that becomes a new event in itself in Vaccari's hands, it becomes a dynamic commentary on the subconscious revelation of vernacular portraiture, and a Significant livre d 'artiste.

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Yun - Fei - Ji
The Three Gorges Dam, 2009
3410-BK

13 3/4 x 120 3/8 in. (35 x 306 cm)

Ten-foot long woodblock print, hand printed with traditional Chinese watercolor inks from 500 hand carved blocks of pear wood, on mulberry paper and silk, in silk bound case. Collaboration between the Chinese publishing house Rongbaozhai, Beijing, and the Library Council of the Museum of Modern Art, New York.

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Andrea Zittel
Rules of Raugh, 2005
1083

10 1/2 x 15 in. (26.7 x 38 cm)

Portfolio of nine loose etchings using hard-ground etching and spit bite aquatint techniques on Magnani Pescia and colored Gampi papers, including one text page and a colophon, housed in a handmade wood box. The work of Andrea Zittel has many aspects and falls into many categories. She is a painter, sculptor, architect, carpenter, building contractor, seamstress, evolutionary biologist, graphic designer, fashion designer, anthropologist, inventor, social scientist, educator, research psychologist, and nutritionist. "Rules of Raugh" (a made up word, as in raw) is the artist’s comprehensive philosophy relating to objects and their usage. The primary questions addressed range over aspects of the relationship of humans to notions such as wear, obsolescence, adaptability, ease, progress, and expertise. The illustrations depict furniture designs for a house—multi-use objects for dining areas, bedrooms, kitchens, and workrooms are rendered as specific articles with their functions distilled to the essentials. Edition of 20 copies.

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