Search Results: Authors starting with A from Tim Byers Art Books

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

Antwerp.: Multi Art Press International., 1970. Sheets loose as issued in original white card folder, blind-embossed title to cover. Creasing, browning, and minor paper loss to edges of folder, with tear to sealing flap. Contents good. Housed in original cardboard mailing slipcase, with the artist’s return address written on reverse.. (30.6 x 30.6 cm).. The complete portfolio of 10 paper die cuts by Ad Dekkers, each on a folded sheet. In the early 1960s, Ad Dekkers (1938-1974) became known for his thorough investigation into the plane, the shape and the line, deliberating that the most universal concepts could be expressed with the purest possible visual means. Dekkers reduces the number of compositional elements in this work published in 1970, and accentuates the specific character of each of the geometric basic forms by simple paper cuts through folded section of white card. Published in an edition of 100 copies, numbered and signed by Dekkers on the copyright label pasted to exterior of folder.

New York.: JMC & GHB Editions (John McWhinnie & Glenn Horowitz Books)., 2008. Plain white wrappers, housed in heavy grey graphite sarcophagus with sliding lid. Top of lid with a deep machine-engineered engraving of the title text message.. Book (20.8 x 15.3 cm); case (29.8 x 24 x 5 cm).. pp. (48). Artist’s book, published on the occasion of Adam McEwen’s exhibition entitled “Chicken or beef?”, held at the Glenn Horowitz Gallery in New York, September 2008. In the show McEwen exhibited his text message works. The artist had a standard Nokia phone, then the most common phone in Europe, and got somebody to design a font that exactly matched that of his phone. They are supposedly all real texts, texted to McEwen or texted to friends of his who forwarded them to him. This artist’s book reproduces twenty-four of these Nokia text messages. For the exhibition, each enlarged text message was encased in graphite frames. McEwen has been making sculptures out of graphite since 2007. He selects… Read More

Ostfildern-Ruit / Munich.: Edition Cantz / Kunstverein München., 1992. Original wrappers, green text on orange (another version has the colours reversed).. (28 x 21.5 cm).. pp. 112. With 182 illustrations, 48 in colour. Copy of the paperback edition in the green on orange version for the exhibition of the same name at the Kunstverein Munich, with contributions by Helmut Draxler, Diedrich Diederichsen and Rainald Goetz. A fine copy signed by Albert Oehlen in blue pen on the title page. [Ref. Uwe Koch - Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 112, pp. 258-260].

Cologne.: Kiepenheuer & Witsch., 1991. Original wrappers.. (23.3 x 16 cm).. pp. 112. Black-and-white illustrations. Inscribed by Oehlen on the front flyleaf, “Dem Schüler Karl, Peter, Dieter, Wolfgang, Heinz … herzlich gewidmet von Albert Kurt Bert Oehlen”.

Stuttgart.: Self-published.. Xeroxed flyer, with stamped titles. Single sheet, printed single side.. (42 x 29.7 cm).. Printed flyer for the Happening which took place at Stuttgart’s Jugendhaus Zuffenhausen on the 1st of July 1966. The participants were albrecht/d, Claude Horstmann, and Marc-Steffen Bremer. The flyer is numbered in pencil from an edition of 30 copies, and signed in pen by the three protagonists (albrecht/d has signed it as “albrecht initiator”). A rather scathing review published in the Stuttgarter Rundschau newspaper three days later stated: ""WARTEN, dass etwas happene - das taten eine Handvoll junger Leute am Freitagabend in Jugendhaus Zuffenhausen. Doch das Ereignis wollte nicht so einfach kommen, also begann man es harbeizurufen und zertrümmerte erst einmal einen alten Fernseher. Dann war man schon mittendrin im Happening"". (WAITING that something happens - a handful of young people did so at Jugendhaus Zuffenhausen on Friday evening, but the event did not come about so… Read More

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

New York.: Pantheon Books., 1955. Original silver-gilt stamped cloth; card slipcase with pasted-down title label. Some wear to edges of slipcase, otherwise good.. (31.8 x 23.9 cm).. pp. (vi), 74, (4). Illustrated with 56 letterpress printed wire form drawings of animals and human nudes by Calder, accompanied by Wilbur's literary selections. One of 750 hand-numbered copies on uncut Curtis Rag paper, signed by Wilbur and Calder in the colophon.

Los Angeles.: Self-published., 1975. Original wrappers, stapled.. (27.9 x 21.5 cm).. pp. (4). With 10 black-and-white photographic reproductions. Activity held in Portland, OR, on December 1-3, 1973, and sponsored by Portland Center for the Visual Arts. “ROUTINE was the first of three related Activities with the same title. Each of them alludes to the deadpan stylizations of vaudeville routines, and to routinized behavior in everyday life …”. [Ref. Giorgio Maffei - Allan Kaprow. A Bibliography, pp. 66-67].

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… Read More

Brescia.: Edizioni “Amodulo”., 1968-70.. Publisher’s wrappers, stapled.. Three volumes. (9.9 x 30 cm).. pp. 20; 20; 28. Black and white illustrations throughout. First three numbers of Sarenco’s visual poetry periodical. With photographs of artwork and contributions by and features on Rosanna, Chiesi, Sarenco, Giusi Coppini, Germana Arcelli & Roberto Comini, Ennio Bianco, Jacques Lepage, Piedro Meldini, Edgardo Antonio Vigo, Jean-François Bory, Timm Ulrichs, G.Valentin.

Paris.: Galerie J., 1962. (18.3 x 23.8 cm).. Ephemera regarding one of Christo’s first major public art installations. During eight hours on the evening of June 27, 1962, Christo and Jeanne-Claude closed the narrow Rue Visconti in Paris with 89 rusting oil barrels. The art barricade was 13.7 x 13.2 x 2.7 feet (4.2 x 4 x 0.5 meters). The installation was a protest against the Berlin Wall which had been built in August of 1961. A replica wall was built inside Galerie J, located on the corner or rue Clément and rue Montfaucon. Presented here is an original black and white photograph of the installation at Galerie J (18.3 x 23.8 cm), signed and dated June 1962 on the verso by Christo. Photo with tape staining to verso. Added is a copy of the gallery’s original invite to the event of the 17 June 1962 (22.6 x 14.3 cm), in which participants are invited to gather at the gallery at 8pm, and then proceed to walk through the streets of Paris to Christo’s barrel wall at rue Visconti. The invitation… Read More

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

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

Milan.: Françoise Lambert., 1970. Single card printed in black.. (14.5 x 19 cm).. Announcement card for one of the early Gilbert & George exhibitions, ‘Frozen into the Nature for you Art’, which opened at the gallery of Françoise Lambert in Milan on 13 June 1970.

London.: Art for All., 1973. Original publisher's white printed wrappers with titles to front cover in black. Mild creasing to corners.. (20.4 x 12.8 cm).. [2 folded sheets]. Inserted leaf of cream paper with preface recto and text 'Six Points / towards a better understanding' verso, page with text 'Sculpting Words' and 'GG' red stamp (page pasted to rear wrapper). The rare ephemeral booklet, the 'guide' for one of Gilbert and George's earliest works, 'Singing Sculpture'. Gilbert & George's 'Singing Sculpture' work, performed over a number of years, was one of their earliest and most iconic 'hits'. For the performance they painted themselves in bronze and sung and danced to a 1930s song titled 'Underneath the Arches'. The booklet was first published in 1970, with this example issued for G&G’s performances in 1973, possibly in Australia.

Cologne / New York.: König Brothers., 1972. Each copy has a unique marbled cover of grey/brown and ochre stained cloth, with black blocked title. Very minor browning to spine, with tiny loss to block titles.. (19.5 x 13.3 cm).. pp. (170). Artist’s book, published in an edition of 600 copies, numbered on the inside rear cover and signed by the artists on the “to the reader” page. The book has the text on printed on the left-hand pages, and photographic images on the right-hand. The text is divided into three chapters, ""With Us in the Nature"", ""A Glimpse into the Abstract World"" and ""The Reality in Our Living”. [Ref. Anne Moeglin-Delcroix - Esthétique du Livre d'Artiste 1960 / 1980, p. 283; Germano Celant - Book as Artwork 1960 / 1972, p. 95].

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… Read More

New York.: D'Arcy Galleries., 1960. Original embossed printed wrappers designed by Marcel Duchamp.. (17.5 x 18. cm).. pp. 124. Black-and-white illustrations throughout. Catalogue for first international surrealist manifestation in New York in almost two decades since the First Papers of Surrealism exhibition of 1942. The show opened at DArcy Galleries on November 28, 1960, with some 150 works by fifty-eight surrealists, or enchanters on show until January 14, 1961. This ambitious show is usually remembered for the controversial inclusion of a large, recent Madonna-themed canvas by Salvador Dali
, which drew a scathing protest statement from Andre
Breton and twenty-four of his Paris followers.

Cologne.: Galerie art intermedia., 1969. Single decorative paper doily.. (26.5 x 17.5 cm).. Invitation to the opening night of André Thomkins’ exhibition at the Galerie art intermedia in Cologne, with the text stamped in purple on a paper doily. As described in the text, Thomkins’ friend Daniel Spoerri was to cook a soup during the show’s opening.