Irma Boom | Hommage à Kelly | 2016 | Zucker Art Books
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Louise Bourgeois Ode a La Bievre, 2007
16 7/8 x 12 15/16 in. (43 x 33 cm)
Ode á la Bièvre was made by Louise Bourgeois in 2002 as an embroidered book from fragments of cloth. In the book, she reminisces, through images and text, about the impact the river had on her.
Her family moved next to the Bièvre in the suburbs of Paris when she was 8 years old (1919). Years later, Bourgeois was to go back to that house with her own family only to find the river to no longer exist, "only the trees that my father had planted along its edge remained as a witness."
Printed book of 52 pages, bound in white Japanese linen and presented in a cardboard slipcase. Edition of 1,800 copies
Louise Bourgeois | Ode a La Bievre | 2007 | Zucker Art Books
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Pia Camil Xiuquilla/Blue milk weed, 2017
19 5/8 x 19 5/8 in. (50 x 50 cm)
Hand sewn cotton accordion pleated leporello book, with screen printing, in cloth box with colophon. Published by Zucker Art Books, NY. Edition of 8 variants, with 2 AP. Each copy is signed and numbered. Each book is handmade from repurposed textiles the artist found in Mexico City. Camil’s interventions include cutting shapes common in making of clothes such as sleeves, collars, torsos, and recombining them in a colorful array, hand sewn into a double sided sequence. She designed small buttonholes in between the panels so the work can be hung as a banner as well, choosing either side for display. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which includes works to be worn or walked on.
Pia Camil | Xiuquilla/Blue milk weed | 2017 | Zucker Art Books
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Wim Delvoye seXrays, 2006
12 x 8 3/4 in. (30.5 x 22.5 cm)
Luxembourg. Beaumont Public. 2002.
80 pages. With 25 reproductions on clear acetate of the X-rays, which were printed on aluminum.. Publisher’s spiral binding within printed boards. Black soft rubber end leaves. Published to accompany a 2002 exhibition in Luxembourg of Wim Delvoye’s s eXrays. Delvoye, with the help of a radiologist, had several of his friends paint themselves with small amounts of barium and perform explicit sexual acts in medical X-ray clinics. When he was not an active participant, Delvoye observed from a computer screen in another room, allowing the subjects enough distance to perform uninhibted, although Delvoye has described the whole operation as “very medical, very antiseptic.
With German text by Peter Bexte "Die Göttliche Komödie der seXrays", and a French text by Olivier Goetz "seXrays de Wim Delvoye: Un rayon de bonheur". Complete with the 15-page English translation bound in at the back.
Herman DeVries | Vlakvolumen, collection "20 x 20", nr. 14 | 1971 | Zucker Art Books
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Herman DeVries Rationale Strukturen, 1967
18 7/8 x 18 7/8 in. (48 x 48 cm)
14 white sheets in grey printed portfolio; on the first sheet is a preface by Siegfried Maser, followed by 13 embossed prints, each signed on the reverse.
edition hansjörg mayer, stuttgart
Edition 40, signed and 26 numbered a-z. This is an unnumbered copy.
De Vries liked to strip things away to the bone, to achieve almost total negation by using whiteness in the work, with no visible typography, thus achieving a sort of presence in absence.
Herman DeVries | Rationale Strukturen | 1967 | Zucker Art Books
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Rachel Feinstein Happy Times, 2015
20 7/16 x 19 5/8 in. (52 x 50 cm)
This unique book arises from the artist’s fascination with the Baroque and with the notion of excess and accompanying ruin. She was drawn to the photographs of the Château de Groussay in France, once owned by the bon vivant and aesthete Carlos de Beistegui. Images of objects and interiors of the château are cut and manipulated by the artist, then collaged onto pages of a found object, a wallpaper sample book juxtaposing the opulence of the interiors with 1960s kitsch.
Wallpaper sheets with collage, rivet bound in red cloth-covered boards, 85 pages. Signed.
Luigi Ghirri | Luigi Ghirri | 1976 | Zucker Art Books
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Eikon Hosoe Maquette for Embrace, 1971
Unique. Tall quarto. This original maquette, with dedication to Tatsumi Hijikata, of "Embrace" by Eikoh Hosoe with 84 silver gelatin prints on agfa gevaert lightweight proofing paper. The maquette follows the exact trajectory of the finished book. The first 11 pages of bibliographical information are painstakingly recorded in Hosoe's hand, and several loose signatures from the book are also included with ten pages that might have been preproduction examples of the book's extraordinary charcoal gravure printing; another six pages of the Japanese text from the book are loosely laid in, two of which are heavily amended in red pencil, presumably by Hosoe. A fascinating look into the design process of an exceptionally conceived photobook. One small nick to the edge of the front board, some signs of overall handling expected from a working model, overall, near fine with Japanese title and author information printed and pasted on the boards, additional ephemera near fine.
Eikon Hosoe | Maquette for Embrace | 1971 | Zucker Art Books
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Christian Megert Glasbuch (Glass book), 1972
16 1/2 x 11 3/4 in. (42 x 30 cm)
Four thick mirrored glass panes serve as ‘pages’ of the book. The exterior cover of the book is toned in black, with the title screenprinted in white on front cover. Bound with black tape spine. Published in a proposed edition of 100 copies, signed by Megert in silver marker pen on the front cover.
Mirror works comprise the fundamental pictorial element in Christian Megert’s oeuvre since the late 1950s. Megert uses mirrors as reflectors of light and movement in the manner of Zero art; they dissect space and give way to monochrome worlds of colour. In the Glasbuch, with its pages composed of mirrored glass, Megert even goes a step further: he mirrors the mirrors in his compositions, thus enclosing the viewer in the reflecting mirrors and releasing him into a seemingly infinite space. In this way, Megert creates countless multiplying possibilities of new pictorial spaces and realities, without beginning and end - a theory the artist first posited in his manifest 'Ein neuer Raum' (1961), which proclaimed a passable room without borders made possible through the mirror.
Christian Megert | Glasbuch (Glass book) | 1972 | Zucker Art Books
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Peter Schmidt electrostatic portraits, 1968
10 1/8 x 14 1/8 in. (26 x 36 cm)
Artist's book with 16 electrostatic "portraits" of the artist's friends and acquantances. These "portraits" were created by gathering random personal effects of the subject, usually what they had in their pockets at the time, and then essentially taking a high end photocopy of these pieces, electrostatically. The images were then reproduced on canvas and bound between thick rubber sheets by the artist. Housed in the rare cardboard slipcase, also made by the artist. Edition #16 of 25 copies, all signed and numbered. Provenance of the publisher, Hans Jorg Mayer.
Peter Schmidt | electrostatic portraits | 1968 | Zucker Art Books
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Peter Schmidt ROT a PRINTS, 1968
8 5/8 x 12 1/8 in. (22 x 31 cm)
Title page plus two printed text pages; "for Diter Rot without whom etc." and "IN January 1968 a new person and a new machine appeared at Watford. Both worked badly(well). I learned some new words: beauties, refreshing, verfügbarkeit, and was advised not to worry. This book is the result of these new aquaintances. PS "
Handmade book with 50 color printed sheets from the rotaprint press, back then a newly invented machine, that was bought by an art school in London in 1968. This new machine brought Hans Jorg Mayer to the Watford School of Art as a visiting professor as he was an expert in printing technology of the period. He also made a project with Dieter Roth with this rotapress.
Binding made by artist using thick tranparent rubber with mounted rotaprints, glue and tape. Edition of 26(A-Z) plus 10 Not for Sale(1-10). This is copy 6. Provenance of the publisher, Hans Jorg Mayer.
Peter Schmidt | ROT a PRINTS | 1968 | Zucker Art Books
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Franco Vaccari La scultura buia (Dark Sculpture), 1968
9 x 8 3/4 in. (23 x 22.5 cm)
16 pages stapled into a soft-cover glossy binding.
This publication inaugurates a practice that the artist continued in years to come: the artist's book as consequence or the continuation of the exhibition itself. For his second exhibition, in the work “L’ambiente buio” (The Dark Environment), shown at the Centro di Documentazione Visiva, Piacenza, Italy in 1968, Vaccari engaged the viewers’ experience of darkness. He extended the experience through this small book utilizing blank black foil sheets as a tactile recollection for the viewer.
Franco Vaccari | La scultura buia (Dark Sculpture) | 1968 | Zucker Art Books
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Veronesi/Malipiero 14 Variazioni di un tema pittorico 1936
14 Variazioni di un tema musicale 1938 , 1939
7 x 9 3/8 in. (18 x 24 cm)
printed by Tip. A. Lucini & C. Milano.
In the years when Veronesi realized this work, he impose to a geometric abstraction that sick to transfer the concepts of musical language to rhythm and harmony in the pictorial field. For abstract artists, reference to music is fundamental from Kandinsky, and in this work one can see the use of the music process and of the "convection theme": the choice of a proposition or fragment that is developed through minimal variations and different provisions. In “14 variations” the pictorial theme is made up of some shapes that simply move, creating a new work each time, in the same way that music moves into new compositions by moving small musical cells.
Veronesi/Malipiero | 14 Variazioni di un tema pittorico 1936
14 Variazioni di un tema musicale 1938 | 1939 | Zucker Art Books
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Mary Vieira Polyvolume interactions photoserigraphiques, 1967
18 7/8 x 18 7/8 in. (48 x 48 cm)
Preface: Giuseppe Ungaretti / Afterword: Joao Cabral de Melo Neto. Portfolio of 13 loose sheets, screen printed, housed in a box. edition hansjörg mayer, Stuttgart. Mary Vieira, the Brazilian sculptor and a leading practitioner of kinetic art, “summons the spectator to art.” The portfolio is based on photographs Vieira had taken using evolving circular forms from one of her sculptures photos she then screen printed. She plays with inflections and reflections of black, creating a dynamic sense of visual movement that changes according to the perspective and position of the viewer. The overall effect is extraordinary, resembling the kinetic art she was making in other media. This copy is the publisher’s final copy before production began, with many corrections marked to the text pages. Each image is signed on the reverse with “épreuve d’artiste”.