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

n.p., c.1974.. (25 x 20.5 cm).. Unpublished close-up portrait, showing an early enigmatic appearance of ‘The Perfect Smile’ of James Lee Byars. In the photograph Byars is dressed in a white shirt with a black silk scarf wrapped around his head, which obscures his eyes and most of his face, except for parts of his mouth and nose. The performance consists of a very subtle movement of the mouth to indicate the briefest smile possible. The work was eventually ‘bequeathed’ by Byars to the Museum Ludwig in Cologne in 1994, with the request that it be exhibited like any other work in its collection. It stands as the first such conceptual museum acquisition. This photograph seems to relate in date with the Byars performance “The Perfect Love Letter”, which took place at the Palais des Beaux-Arts, Brussels in 1974.

Eschenau.: The Eschenau Summer Press Publications., 1978. Folded red card. Minor scratches to surface of card, otherwise very good.. (21 x 14.8 cm).. Artist’s book, published as the twelfth number of Herman de Vries’s series of eschenau summer press publications & temporary travelling press publications. Published in an edition of 150 stamp-numbered copies, James Lee Byars’s contribution consists of a folded red card, with a red cord glued into the centrefold of the folder. The total length of cord is apparently 185 cm (the artist's height). At exactly the mid point of the cord, 3 additional cords of 92 cm each are knotted onto the assembly. On one of these cords yet another cord is knotted after exactly 38 cm.

Berlin.: Situationen 60 Galerie., 1965. Three-part folding leporello of black card, with screenprinted titles in white on recto. Verso with three more tipped-on folding leporellos of black paper, offset printed with text and illustrations.. (21.7 x 21.9 cm), folded.. Folding catalogue brochure produced for the joint exhibition held in Berlin, March - April 1965. Independently of one another, Lucio Fontana in Italy, Hermann Goepfert in Germany and Jef Verheyen in Belgium had begun to postulate monochrome as a new idea in painting, together with the use of real elements, particularly light and motion, as pictorial materials. The intensive artistic exchange between Goepfert, Fontana and Verheyen culminated in 1963, in a collaborative work they exhibited in Berlin. “Untitled"" (1963) by Jef Verheyen, Lucio Fontana and Hermann Goepfert is one of the few collaborative works by several artists of different nationalities after 1945. In 1965, Goepfert went in person to Milan to invite Fontana to a joint… Read More

Düsseldorf.: Galerie Heike Curtze., 1980. Original colour printed wrappers.. (30 x 21 cm).. pp. 45, (3). Colour and black-and-white illustrations. Catalogue to the exhibition in the Heike Curtze Galerie, November - December 1980. Printed in an edition of 1000 copies. This copy signed in pen by Attersee on the title page.

Vienna.: Bundesministerium für Unterricht und Kunst., 1984. Publisher’s glossy printed wrappers.. (28 x 23.5 cm).. pp. 120. Colour illustrations throughout. Catalogue with texts in German, Italian, French and English. Foreword by Hans Hollein. This copy signed and dated in pen by Attersee on the half-title page.

Berlin.: Reinhard Onnasch Ausstellungen., 1983. Original printed wrappers, stapled. Minor staining to rear cover.. (21 x 21 cm).. pp. (24). With 20 illustrations including 8 in colour and a photograph of the artist in his garden. Exhibition catalogue, Reinhard Onnasch Galerie, October - December 1983. This copy with an original pen drawing by Attersee on the title page, depicting a cocktail glass. The drawing is signed and dated Oct 83.