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
John Baldessari | Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) | 1973 | Zucker Art Books
4 / 50
John Baldessari Ingres and Other Parables, 1972
12 1/8 x 10 5/8 in. (30.8 x 27.1 cm)
10 black-and-white photographs. Cream saddle-sewn textured paper wrappers, text in black; tiny mark to cover. Circular punched hole at fore-edge as issued.
First edition of Baldessari’s first artists’ book, the format resembling a wall hanging calendar. In More Than You Wanted To Know ... Vol. 1 (2013) he explains: ‘This piece had its genesis from a notebook entry where I had written, “Tell stories like Jesus.” They were to be moral tales for young artists just out of school and ready to enter the art community. Pitfalls to avoid; tales for the art unwary.’
The ten parables, each of which is illustrated with a black-and-white photograph, are titled: ‘Ingres’, ‘The Contract’, ‘The Wait’, ‘The Neon Story’, ‘The Best Way To Do Art’, ‘Art History’, ‘The Great Artist’, ‘Two Artists’, ‘and The Visitor’.
John Baldessari | Ingres and Other Parables | 1972 | Zucker Art Books
5 / 50
Lewis Baltz The new Industrial Parks near Irvine, California., 1974
8 7/8 x 10 in. (22.5 x 25.4 cm)
First Edition Thus. Oblong 4to. Printed Buckram in Dust Jacket. Photography Monograph. Near Fine/Near Fine. np (110pp), 51 duotone illustrations. Designed by Thomas F. Barrow. Text in English and German. "The New Industrial Parks Near Irvine, California" is Lewis Baltz' landmark typological study that virtually single-handedly gave birth to the "New Topographics" movement. It reproduces as a full page each of the fifty-one images that comprised the 1974 Castelli Graphics photographic print portfolio of the same name that was issued in an edition of forty with six artist's proofs. A bright, most handsome example of the uncommon 1974 first printing (cited on pages 298-299 of The Hasselblad Center's "The Open Book", and pages 228-229 of "The Book of 101 Books").
In 1975, the year he published his first book , ‘The new Industrial Parks near Irvine, California,’ Lewis Baltz was also included in a landmark exhibition at the International Museum of Photography at George Eastman House called ‘New Topographics: Photographs of a Man-Altered Landscape.’ Although some of the participants in that show managed to elude the label, Baltz--along with Robert Adams, Stephen Shore, Henry Wessel, Jr., and Bernd and Hilla Becher--was effectively branded, and ‘The New Industrial Parks’ was paired with Adams’ 1974 ‘The New West’ as the most cogent, concise, and rigorous New Topographics documents produced in America. The label stuck primarily because it was invented to describe exactly what California-born Baltz had been doing since the late ‘60s: photograph the American landscape as a dead zone. Tamed, flattened and sectioned off into building sites and real-estate opportunities, Baltz’s New West--most of it located in California’s vast suburban sprawl--had long since lost any memory of magnificence and promise. In their place was the alluring vacuum of anonymity (though that seems beside the point in pictures devoid of any human presence) and desolation so complete it was almost elegant. Baltz had honed in on that austere, unlikely beauty in his earlier series on tract homes, but he refined his vision for the Irvine series, which focuses on the fac¸ades of windowless office blocks and electronics factories, some still in construction on barren lots, others landscaped as perfunctorily as a toll plaza.... [Unlike] Ed Ruscha’s genuinely artless images of apartment buildings and parking lots, Baltz’s pictures are pointedly artful. The Irvine series, though (presumably) despairing of the industrial parks’ cold emptiness, can’t help but establish its link to minimalist painting and sculpture, particularly Donald Judd’s boxes and Carl Andre’s concrete blocks” (Vince Aletti, in Roth): Thomas F. Barrow. Signed and inscribed by L. Baltz.
Lewis Baltz | The new Industrial Parks near Irvine, California. | 1974 | Zucker Art Books
6 / 50
Bentley, W.A. and Humphreys, W.J. Snow Crystals, 1931
12 x 10 in. (30.5 cm)
In 1931, Dr. William J. Humphreys, Chief Physicist for the U.S. Weather Bureau, sorted through some 4500 of Bentley's photomicrographs (the original negatives and some of his notebooks are housed at the Jericho Historical Society, Vermont) and published 2453 of his pictures—most of them of ice crystals and about 100 of sleet, ice, frost, and dew. By adapting a microscope to a bellows camera, Bentley became the first person to photograph a single snow crystal in 1885. His work illustrated that no two snowflakes are alike.
Bentley, W.A. and Humphreys, W.J. | Snow Crystals | 1931 | Zucker Art Books
7 / 50
Brigid Berlin Untitled, 1972
6 1/16 x 4 5/16 in. (15.4 x 11 cm)
Former Warhol Factory acolyte, Berlin narcissistically documented her life via Polaroid photographs. This book is a unique example from a series of “tit paintings”—colorful prints made by pressing her painted or inked breasts on paper. Inscribed “For Bob with love, Brigid.” Ex-collection Robert Rauschenberg.
Brigid Berlin | Untitled | 1972 | Zucker Art Books
8 / 50
Marcel Broodthaers La Conquête de l'espace, (The conquest of space), Atlas, 1975
19 1/4 x 24 3/4 in. (49 x 63 cm)
Lithograph in black ink; untrimmed sheet of the pages of a posthumously published miniature book by the artist called "The Conquest of Space: Atlas for the Use of Artists and the Military".
From the edition of only 50 copies. HC copy no. VII with Estate stamp on back.
Published by Lebeer Hossmann Éditeurs, Brussels and Hamburg
Marcel Broodthaers | La Conquête de l'espace, (The conquest of space), Atlas | 1975 | Zucker Art Books
9 / 50
Marcel Broodthaers La Conqu√™te de l'espace, Atlas √† l‚Äôusage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military), 1975
1 7/16 x 15/16 in. (3.8 x 2.5 cm)
38 pages in slipcase, offset lithograph, containing silhouettes of a selection of 32 countries of the world shrunk to the same scale as Belgium, with no difference in size, arranged alphabetically. Published by Edition Lebeer Hossmann, Brussels and Hamburg. A tiny and most rare important final artist's book by Broodthaers that plays on language, scale, and function‚Äîit is transportable, but useless. This book was published shortly before the artist's unexpected death in 1976 thus all copies remain unsigned and are stamped ‚ÄúEstate M Broodthaers‚Äù and numbered by the publisher. Number 17 of 50 copies.
Marcel Broodthaers | La Conqu√™te de l'espace, Atlas √† l‚Äôusage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military) | 1975 | Zucker Art Books
10 / 50
Bruno Munari and Ugo Mulas Campo Urbano, 1969
11 5/8 x 7 5/8 in. (29.5 x 19.5 cm)
In Campo Urbano (1969) Ugo Mulas (1938-1973) disbands with conventional divisions between documentation, portraiture, and artwork by employing tilted camera angles, unusual framing, and a series of images that visually describe a daylong intervention in the city of Como. The work foreshadows his later engagement with the conceptual side of photography, its framing and mirroring of the world.
Bruno Munari and Ugo Mulas | Campo Urbano | 1969 | Zucker Art Books
11 / 50
James Lee Byars The One Page Book, 1972
12 x 8 7/16 in. (30.5 x 21.5 cm)
Cloth-covered board box containing one loose page as issued, with offset lithograph with one line of text, in miniscule font: "the philosophy of the one question". Sticker with title and press on cover; numbered on recto.
Sigrid Calon To the extend of / \ | & -, 2012
6 5/8 x 8 5/8 x 1 1/8 in. (17 x 22 x 3 cm)
Within the grid and beyond the pattern.
120 compositions in form & color, stencil printed on RISO.
This work arose out of Calon’s fascination with a grid; an embroidery grid, to be precise, with a minimal basic grating of 3 x 3 dots. With these dots, eight different (embroidery) stitches can be made.
When processed by the computer the stitches become lines and new graphic possibilities arise.
Lines can be repeated or joined to form a longer line. Lines can be rendered with outline or without.
Lines can be reproduced as form or as in-between form.
Lines and in-between forms can be put on top of, one another in layers.
Eight colors are employed in various combinations, with each combination appearing only once, generating 48 two-color combinations and 56 three-color combinations. Four-color combinations yield 72 options.
Sigrid Calon | To the extend of / \ | & - | 2012 | Zucker Art Books
16 / 50
Mario Carrieri MIlano, Italia, 1959
11 3/8 x 10 1/8 in. (29 x 25.8 cm)
135 black-and-white photographs printed in gravure, design by Giulio Confalonieri, Ilio Negri and Giuseppe Trevisani. . First edition. Carrieri was a leading photojournalist and cinematographer associated with the Italian neorealists. He was influenced by William Klein's 'Life is Good & Good For You in New York' and shared a similarly raw view, though his layout is slightly more restrained. Carrieri spent time photographing in the suburbs as well as in the centre of Milan, focusing his attention mostly on the less glamorous working side of this hard Italian city. 'One of the most important works of the neo-realist tendency of the 1950s' (Parr). In the same year as Milano, Italia, Klein published his own impressions of Italy in Rome: The City and Its People. [Parr, M. and Badger, G., The Photobook: A History Vol.I, p.214].
Castellani | ESTROFLESSIONE | 1968 | Zucker Art Books
18 / 50
Anna Hellsgård Christian Gfeller Quantumland 1, 2015
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.
Anna Hellsgård Christian Gfeller | Quantumland 1 | 2015 | Zucker Art Books
19 / 50
Anna Hellsgård Christian Gfeller Quantumland 2, 2015
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.
Anna Hellsgård Christian Gfeller | Quantumland 2 | 2015 | Zucker Art Books
20 / 50
Anna Hellsgård Christian Gfeller Sans Titre, 2015
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.
Anna Hellsgård Christian Gfeller | Sans Titre | 2015 | Zucker Art Books
21 / 50
Mark Dion Fragments of travel, exploration and adventure, 2007
10 1/4 x 12 5/8 in. (26 x 32.1 cm)
Paris: Christophe Daviet-Thery and XN editions
In his first book project Dion assumes the guise of an 18th or 19th century scientist who explores an unknown land (he kindly includes a buffalo leather pop-up map of this terra incognita) and exhaustively documents the native flora and fauna. The book is exquisitely constructed to convincingly carry out this fiction: pieces of paper are die cut and assembled and bound into the book to suggest an impromptu but thorough record of the explorer’s discoveries and observations. Contains twenty-seven bound-in lithographs, offset printed; six bound-in digital prints; five loose lithographs, offset printed; and two loose digital prints. Edition of 36 with 9 A.P.; deluxe editions 1-6 each include a unique drawing in colored pencil. Quarter bound in buffalo leather with Zerkall Nideggen paper and Zerkall German Ingres. Slipcase.
Reinhard Dohl | Bedepequ | 1967 | Zucker Art Books
23 / 50
Tracy Emin Exploration of the Soul, 1994
8 x 8 in. (20.3 x 20.3 cm)
Signed on inside with two original color photographs. Book is housed in a hand sewn white cloth bag with yellow letters "TE". Sold to fund a road trip undertaken by the artist from San Francisco to New York. Emin sold the book at galleries and other venues where she would give one-night performances reading from it.
Tracy Emin | Exploration of the Soul | 1994 | Zucker Art Books
24 / 50
Luciano Fabro Ogni ordine e contemporanea d'ogni altro ordine: quattro modi
d'esaminare la facciata del ss. Redentore a Venezia. (Every Order is Contemporaneous of Every Other Order: Four Ways of Examining the Façade of the SS. Redentore in Venice), 1972-73
36 x 27 7/8 in. (91.5 x 71 cm)
Silkscreen folio in cardboard dust jacket
Edition n 55 of 120 copies signed and numbered.
Printed by Alfredo and Enrico Rossi.
Published by Alfredo and Enrico Rossi with the artist
This work is a screenprinted line drawing of the façade of SS Redentore with three variations on the proportions invented by Fabro. Each part is accompanied by a sheet printed with a small image of the façade depicted in that part and there is a sheet headed ‘Sinottica degli insiemi e delle proporzione’ with small images of all four; there is also a title page bearing the artist's signature and those of the printers.
Translation of the Preface:
Dante, in the Convivium, indicates the reading of works of art according to four senses or interpretations: the literal, the allegorical, moral, anagogical.
I built this work because it is readable parallel along these ways. Each order is contemporary of every other order: I translated The co-planarity in contemporaneity. I have broken down the three architectural orders of the facade of the SS. Redentore as if Palladio had kept them in the wild, varying from time to time the spatial dislocation: this is well readable by the proportion of the statues that adorn the facade and which have been replaced, for placing in niches:
Adam and Eve of van Eyck, higher, far from each other:
a man with a layer against the spade (Piero della Francesca) from Venus by Canova;
at its height, in the triangle of ethics, Christ of El Greco who points Aesop by Velasquez, while to the opposite corner, a woman (Michelangelo) turns her back, in the act of getting away.
Abuse of the philological method in the examination of the facade of SS. Redentore.
It cannot have a genuine love of order without the denial of the order.
Luciano Fabro | Ogni ordine e contemporanea d'ogni altro ordine: quattro modi
d'esaminare la facciata del ss. Redentore a Venezia. (Every Order is Contemporaneous of Every Other Order: Four Ways of Examining the Façade of the SS. Redentore in Venice) | 1972-73 | Zucker Art Books
25 / 50
Rachel Feinstein Call Us Not Weeds But The Flowers Of The Sea, 2015
4 5/16 x 5 7/8 in. (11 x 15 cm)
Feinstein altered a 19th century Victorian album containing mounted specimens of seaweed by adding fragments of erotic black and white photographs. She manipulates the given objects and photographs as collages that provoke voyeuristic associations. A poem on one page, nine pages of images. Unique.
Rachel Feinstein | Call Us Not Weeds But The Flowers Of The Sea | 2015 | Zucker Art Books
26 / 50
Francesca Gabbiani White Book, 2005
Artist 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 copies with deluxe copies, 1-6 each having a print with the book. This has the print and is #4 of 20.
Ludwig Harig | Ein stereophones horspiel | 1967 | Zucker Art Books
28 / 50
Stephan Köhler Mexico, 2000
7 3/8 x 20 in. (19 x 51 cm)
Collaboration with Clemens-Tobias Lange. Two volumes, bound in linen and silk with iron spine, housed in a wooden slipcase.
Published by CTL-Presse, Hamburg.
Each of the two volumes begins with excerpts from letters by Catalino (in Spanish with English translation), written from 1987–1994. Volume One tells of the hardships of farm life and the devastating effects of a hurricane. The images show daily life on the fields and in the small town of Tekit. Volume Two concerns the day’s fiesta, anticipating it in the letters, and the mixture of culture identification through photographs of processions, dances, and bullfights. The semi-transparent pages with Köhler’s photographs were printed in a darkroom on gelatin-coated Kozo Japanese paper handmade by the photographer in his Paper Bridge Mill in Gifu. 25 regular copies numbered 1–25 and 10 e.a. numbered 26–35. This copy is a special publisher’s copy, unnumbered.
Roy Lichtenstein La Nouvelle Chute de L' Amerique, 1992
14 3/4 x 13 3/4 in. (37.5 x 35.2 cm)
Ginsberg, Allen.Paris. Editions de la Solstice.
Folio. Eleven poems by Allen Ginsberg in English and French illustrated with ten full page colour etchings by Lichtenstein, each initialled by the artist in pencil. Loose as issued in original publisher's wrappers, in original chemise and slipcase. From the edition limited of 80 copies, signed by the poet and artist. Edition of 80 copies.
Motion, in the face of this fixity, becomes more imperative,” Helen Vendler wrote in the New York Times, in 1973, when Allen Ginsberg’s The Fall of America poems were released. She was describing on Ginsberg’s elegiac new work, reflective of the end of an era in which spontaneity had come to constitute an aesthetic in itself.
Ginsberg published The Fall of America as part memoir, part travelogue, reminiscing about dead friends and lovers, and prosecuting American participation in the Vietnam War. For La nouvelle chute de l’Amérique, Ginsberg selected eleven poems from his collection to be illustrated by Roy Lichtenstein, with ten original etchings, each one being signed by the artist. The result is a folio object containing a rare coalescence of two distinct sensibilities.
“More and more places,” Vendler wrote, “... An addictive sociability coexists now in
Ginsberg with a pall of solitude; willed prophecy inhabits a religious void; and of empty necessity topographical descriptions supersedes familial drama.”
Lichtenstein, an American master of caricature, added a visual representation, giving an image to the disruption for the American political landscape, thereafter. As Ginsberg said, “poetry is not an expression of the party line. It’s that time of night, lying in bed, thinking what you really think, making the private world public, that’s what the poet does.”
The book was published in Paris by Les Éditions du Solstices (a members-only club for bibliophiles) in 1992, in a small edition of only eighty copies. There was also an edition of only the plates printed on Japanese paper in an edition of forty-five: text in both English and French, the poems translated in part by Anne- Christine Taylor, an ethnologist and retired head of research at the Musée du quai Branly. Issued in the publisher’s wrappers, the folio is conserved in the original blue cloth chemise and red slipcase with a white letterpress title.
This edition was printed for Robert S. Pirie (1934–2015), a bibliophile who was proud of his spot on President Richard Nixon’s “enemies list.” Pirie was one of the few Americans admitted into the prestigious Roxburghe Club, the world’s first bibliophile club, founded in London in 1812.
In this volume—half modern artist book, half protest poetry—might have seemed out of place in Pirie’s largely sixteenth and seventeenth century collection, except for its status as the particular treasure of a collector who recognized the significance of a partisan split in American politics, with art being one way to transform the ridiculous into the sublime.
Roy Lichtenstein | La Nouvelle Chute de L' Amerique | 1992 | Zucker Art Books
31 / 50
Piero Manzoni Piero Manzoni: Life and Work, 1969
7 1/8 x 6 1/8 in. (18 x 15.5 cm)
Softcover, mylar, bound by plastic clip. Except for the title page, the book is blank. Signed by Jes Petersen who originally published it in 1963. Reference: p. 265, "Piero Manzoni", published by Priero Editore, Milan, 1989; 20 Jes Petersen Germany artist’s book. Edition of 100 copies.
Piero Manzoni | Piero Manzoni: Life and Work | 1969 | Zucker Art Books
32 / 50
Beatriz Milhazes Coisa Linda, 2002
12 9/16 x 12 9/16 x 13/16 in. (32 x 32 x 2.2 cm)
Deluxe artist’s book with 34 hand printed screen prints, some on mylar, and a unique collage, with lyrics from Brazilian songs, in linen slipcase.
Publisher by Library Council of The Museum of Modern Art, New York.
Milhazes intends "Coisa Linda" to engage the senses and explore the connection between music and images, a connection that is especially deep in Brazilian culture. The exuberant abstractions respond to a range of musical sources, from words and phrases of the songs featured in the book to more general sights and sounds of the streets and samba schools of Rio de Janeiro.
Franz Mon | Ainmal nur das alphabet gebrauchen | 1967 | Zucker Art Books
34 / 50
Jonathan Monk Two Silver Circles Spinning, 2005
Two silver metal circles in a box with string and signed certificate. One circle is 30.5 cm diameter with another attached to it measuring 1.2cm diameter. The artist states that you attach the string to the smaller circle to hang it at an appropriate height allowing the piece to spin. Copy 4/12
Jonathan Monk | Two Silver Circles Spinning | 2005 | Zucker Art Books
35 / 50
Bruno Munari Libro Illeggible N.Y.1, 1967
8 5/8 x 8 7/8 in. (22 x 22.5 cm)
This is a unique book designed by Bruno Munari especially for The Museum of Modern Art. It is one of a group of books in which visual discourse, rather than a text composed of words, carries the thread of the story... -- from publisher's statement. Text in Italian and English. This is the absolute first copy in the edition, #1 of 644.
Bruno Munari | Libro Illeggible N.Y.1 | 1967 | Zucker Art Books
36 / 50
Giulio Paolini Sei illustrazioni per gli scritti sull'arte antica di Johann J. Winckelmann (Six Illustrations for the Writings on Ancient Art by Johann J. Winckelmann), 1977
19 5/8 x 13 3/4 in. (50 x 35 cm)
Published by Mello e Persano, Genova, Turin.
Large Folio bound in brown buckram with 36 pages sewn in. Three pages of text by Winckelmann plus six double page illustrations printed in lithography and silkscreen, two of which are unique collages by the artist. One with ripped papers and the other with a closed mystery envelope. As published with printed white dust jacket and folding box with printed label on front. Signed and numbered 13 of 33. There were also seven copies numbered with Roman numerals.
Based upon the study of the ancient world by the 18th-century historian and writer Johann Joachim Winckelmann called “On Art, Grecian Drawings, and Beauty”, this work by Paolini is divided into six chapters, corresponding with six, two-page illustrations. It is a return to the tradition of bibliophilism, which, through its love of words, considers the book as a precious objet d 'art. Paolini’s reference to Winckelmann reaffirms the neoclassical origins of many of the artist's works. The plates, drawn in a refined contrast between whites, blacks, and ochres, are often embellished with collages.
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.
Lukas Pusch | Kaiserwalzer | 2009 | Zucker Art Books
39 / 50
Dieter Roth Speedy Drawings: Self-Portrait as Sprinter, 1978-80
11 5/8 x 8 1/4 in. (29.7 x 21 cm)
Pencil, marker, and ink(some have stamp impressions) to make these drawings on folded card that were inserted into the deluxe editions of the collected works series that were published by Eaton House Publishing.
Dieter Roth | Speedy Drawings: Self-Portrait as Sprinter | 1978-80 | Zucker Art Books
40 / 50
Dieter Roth Literaturwurst, 1968
10 5/8 x 2 3/4 x 2 3/4 in. (27 x 7 x 7 cm)
Pages of German tabloid BILD shredded and stuffed into sausage casing with gelatin, lard, and spices. Roth’s gesture—shredded pages of a text mixed with spices and lard and stuffed into a sausage casing—remains one of the most radical examples of an artist's book today!
Edition of 50. Unnumbered AP copy; signed and dated, “Diter Rot 68”
Collection Rudolf Rieser.
Dieter Roth | Literaturwurst | 1968 | Zucker Art Books
41 / 50
Dieter Roth Poesy 2 Deluxe, 1967
9 3/4 x 5 1/2 in. (25 x 14 cm)
18 sheets, letterpress on both sides of transparent plastic bags filled with dyed glue. Signed cloud drawing on first page and signed on colophon.
Total edition of 7. Publisher’s copy No. 0; Collection Rudolf Rieser.
No. 1 of the bi-annual review of poetry.
26 pages, letterpress on leather pages, hand sewn binding in folding leather box with lead insert.
Total edition of 7. Publisher’s copy No. 0; Collection Rudolf Rieser.
Collaboration Roth MATERIAL 1,2, 2 supl, 3, 5, 1957-1960
Dieter Roth, Emmet Williams, Pol Bury and Daniel Spoerri.
Complete set lacking only the second supplement of Roth to the second volume which is only blank black and white pages with black cover, otherwise complete in Fine Condition.
Provoke 3: 1968. Taki, Koji ; Takanashi, Yutaka ; Nakahira, Takuma ; Moriyama, Daido ; Text by Yoshinmasu, poem by Okada. Paperback with printed cover. 239x185 mm (9,1/2x7, 1/4 in), 110 pp. Complete collection of this legendary publication (NB: Provoke 4 appeared in 1970, after the group fell apart) uniting the most innovative post-war Japanese photographers. Breaking tradition and taboo, Provoke presented a new style - violent, dirty, embracing the accidental, the blur and shadow of social critique.
TAL R | FLAMETTI OR THE DANDYISM OF THE POOR | 2014 | Zucker Art Books
49 / 50
Toyokuni, Utamaro, Kunimasa Yakusha Gakuya Tsu, Picture-book of Portraits: Actors behind the Scenes, 1799
10 7/8 x 7 3/8 in. (27.7 x 18.8 cm)
Thirty-six full color actor portraits are in Edo style accompanied by poems and a delightful double page print by Utamaro. "The large head and the half length type of actor print had been among the great innovations of the 1780s and 1790s and these two artists excelled in these striking forms of portraiture, which recalled Western prints from the time of Durer onward, focusing on the features of the person portrayed with close-up intensity."Hiller. pg. 573.