Search Results: Titles starting with B from Tim Byers Art Books

(Cologne)., 1960. The Ballettabend or “Ballet Evening” took place in the auditorium of the Friedrich-Wilhelm Gymnasium in Cologne on the 5th of October 1960. The participants were none other than the great dancer and choreographer Merce Cunningham and his dance partner Carolyn Brown, together with the composer John Cage and pianist David Tudor. The evening’s production concluded with “Music Walk with Dancers” pairing a new duet for Cunningham and Carolyn Brown with John Cage’s indeterminate work “Music Walk”. Cunningham and Brown performed a series of movement tasks such as waltzing, skipping, running, dancing a softshoe, doing warm-up exercises, balancing on a dolly, and sitting in chairs. Cage and David Tudor walked about the space playing piano. This set of six seemingly unpublished photographs (each with a printing date stamp of 08.11.61 on verso) show the major protagonists: a relaxed portrait of Merce Cunningham and Carolyn Brown during rehearsals (17.8 x 18.5 cm); two… Read More

(Cologne)., 1960. The Ballettabend or “Ballet Evening” took place in the auditorium of the Friedrich-Wilhelm Gymnasium in Cologne on the 5th of October 1960. The participants were none other than the great dancer and choreographer Merce Cunningham and his dance partner Carolyn Brown, together with the composer John Cage and pianist David Tudor. The evening’s production concluded with “Music Walk with Dancers” pairing a new duet for Cunningham and Carolyn Brown with John Cage’s indeterminate work “Music Walk”. Cunningham and Brown performed a series of movement tasks such as waltzing, skipping, running, dancing a softshoe, doing warm-up exercises, balancing on a dolly, and sitting in chairs. Cage and David Tudor walked about the space playing piano. This first set of eight photographs (each with a printing date stamp of 08.11.61 on verso) show John Cage either backstage, or in preparation for the performance. These include: three informal photographs of John Cage, taken backstage,… Read More

Bremerhaven.: Kabinett für aktuelle Kunst., 1972. Sheet (50 x 48 cm).. The poster for Bas Jan Ader’s “Broken Fall (Organic)” exhibition at the Kabinett für aktuelle Kunst Bremerhaven (poster designed by Jürgen Wesseler). The exhibition dates were 17 June - 1 July 1972. The titles, as well as the exhibition’s opening days and hours are screenprinted in grey, with the text framing a mounted black-and-white offset freeze-frame from the video ""Broken fall (organic)"" showing Bas Jan Ader falling from a branch. A fine copy. [Ref. E. Kleimann - 50 Jahre Avantgarde. Das Kabinett für aktuelle Kunst Bremerhaven, no. 31].

Munich.: Galerie Friedrich & Dahlem., 1965. Original plain black wrappers, stapled.. (29.2 x 21 cm).. pp. (16). With 26 black-and-white illustrations. Catalogue for an early exhibition of Baselitz oil paintings and drawings, 25 June - 4 August 1965. It marked the first appearance of his ‘Heroes’ series of paintings. In 1965, Baselitz had been awarded a six-month residential scholarship at the Villa Romana in Florence. Here he became familiar with the masterpieces of sixteenth-century Mannerism, with their contorted bodies and small heads. This Italian experience made a profound impact on Baselitz, and the influence of classical monumental sculpture is also evident in the paintings illustrated in this catalogue.

Basel.: Dieter Roth’s Verlag., 1991. Publisher’s printed wrappers, stapled.. 21.9 x 15 cm.. pp. 40. The first of four short works or trivial stories that were reprinted and included in Volume 35 of The Collected Works of Dieter Roth. This volume was first published in 1974, with this being the second edition published in 1991. [Ref. Dobke - Dieter Roth. Books + Multiples, p. 217].

The Hague.: Edition UNIDA., 1971. Original glossy printed boards. Browning to upper edge of separate screenprint.. (20.5 x 17.2 cm).. pp. (56). A well-designed catalogue illustrating 23 of Bayrle’s early graphic works. The colour illustrations are interspersed with detailed black-and-white shots printed on transparent tracing paper. Deluxe edition limited to 200 copies, numbered and signed by Bayrle on the title page, and accompanied by a loosely inserted original screenprint, also signed, numbered and dated (book and print are numbered differently out of the edition of 200). In this copy the inserted print is the small version of Bayrle’s “Onanie” printed in green and brown (19.4 x 15.5 cm).

Berlin, Boston, Rensselaer Falls Flayosc, Zurich.: Mary Dorothy Verlag (The Passion Press)., 1978. Original printed wrappers with Marianne Filliou’s photographs reproduced on the covers.. (24.5 x 20.5 cm).. pp. (69). Artist’s book, with texts in German and English, published in an edition of 500 copies, numbered and signed by Iannone on the final page. The Berlin Beauties, is a typical artist’s book by Iannone in its conjoining of text and image with the addition of photography. It is addressed to the fictional “Danton,” and takes the form of a series of riffs on its title using the conjunction “or,”: “THE BERLIN BEAUTIES OR THE THING YOU FEAR AND DREAD, THAT WHICH WILL SAVE YOU AND FOR WHICH YOU WAIT, DOES NOT EXIST.”

Hamburg.: Galerie Ascan Crone., 1983. Publisher’s wrappers, stapled.. (23.8 x 16.4 cm).. pp. 28. With 8 tipped-in colour plates. Exhibition catalogue, May - June 1983. Essay by Armin Wildermuth. This copy inscribed by Koberling in pen on the inside front cover under his printed photo portrait.

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.

Tokyo.: Mainichi Newspapers / Japan International art promotion association., 1970. 2 volumes, one in photographic wrappers, the other in black wrappers. Presented in original cardboard slipcase. Mild browning to spine, otherwise a very good copy.. (23.5 x 25 cm).. pp. (144; 52). Numerous black-and-white illustrations throughout. The two-volume exhibition catalogue published in conjunction with the show ‘10th Tokyo Biennale’. Titled ‘Between Man and Matter’, the 10th Tokyo Biennale opened in May 1970 at the Tokyo Metropolitan Art Museum, and subsequently travelled to Kyoto, Nagoya and Fukuoka. The art critic Yusuke Nakahara, who was appointed General Commissioner for the exhibition, aimed to distinguish it from both the Venice and São Paulo biennial models by abolishing prizes and national representations. In order to represent the increasing diversity of artistic approaches that had developed beyond the traditional categories of painting and sculpture in the 1960s, Nakahara selected forty… Read More

Heidelberg.: Edition Staeck., 1971 - 1972.. 4 volumes. Original grey wrappers, stapled. Front covers stamped with titles. Loose in the original cardboard envelope portfolio, with taped edges as issued, and artist’s name stamped on front.. Various formats: (9.3-22 x 7-14.8 cm).. Feldmann’s Bilderhefte (published between 1968 and 1974) are small, staple-bound booklets in various formats with grey cardboard covers, rubber-stamped with the author’s surname and title, indicating the number of pictures they contain (for example, 3 Bilder or 5 Bilder). Printed in black-and-white on offset paper, without text, the picture books bring together everyday phenomena. These small artist’s books consist of reproductions of both found and self-produced black-and-white photographs. By making series of these images of common objects and situations, Feldmann at once neutralises and links them. His work gives credit to the ethos of mass production and to amateur photography. By giving equal value to all types… Read More

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.

1961. Three sheets, printed rectos only, stapled.. (29.7 x 21 cm).. Typescript (with typed corrections) of Hamilton’s article on Dieter Roth’s artist’s books, published in Typographica 3, June 1961.

Remschied.: Edition VICE-Versand., 1966/1980.. (36 x 7.2 x 7.2 cm).. Green glass wine bottle with corkscrew mounted in the place of the cork, and printed label. Artist’s multiple, produced in an edition of 42 copies, numbered and signed with the artist’s monogram on the bottle’s printed label. The bottle is a Chateau Lafite Rothschild, the label is identical, but the name has now been replaced by ""Created by George Brecht”. Wolfgang Feelisch’s VICE-Versand multiples set out to bring contemporary art to a wider audience with a series of works conceived by artists involved with or close to the Fluxus movement, such as George Brecht and Robert Filliou. Brecht’s multiple, in Fluxus fashion, humorously appropriates an everyday object, and in doing so disassembles both the sanctification of the creative act and the mythic uniqueness of the work of art. [Ref. Jon Hendricks - Fluxus Codex, p.219; P. Schmieder - Unlimitiert, p. 162-163, no. V50; Harry Ruhé - George Brecht. The Editions, no. M49].

New York.: George Wittenborn., 1960. Original green paper-covered boards, spine and upper cover lettered in black-and white stippled type; matching printed dust jacket. From the series, The documents of modern art, no. 14. Slight fading to spine of jacket and minor rubbing to forecorners, otherwise a very good copy.. (22.9 x 15 cm).. Unpaginated (including one leaf folding and another printed on glassine), with profusion of photographic plates, full-page drawings, diagrams, various typographic formats, annotations, vignettes, and musical notation. First appearance of the English translation and typographic interpretation of Duchamp's Green Box (La Mariée mise à nu par ses célibataires même (Boîte verte), a collection of 94 documents explaining the development and function of ""The Large Glass,"" assembled between 1915 and 1923. During the 1930s Duchamp oversaw the first printed edition of the Green Box, with each of the 94 original notes meticulously reproduced in collotype in exact facsimile… Read More

New York.: (Onnasch Galerie)., (1974).. Three photocopied sheets, folded in original franked envelope.. Each sheet (28 x 21.6 cm). Starting in April 1968, Ray Johnson distributed mailings that called for “meetings” of the New York Correspondence School, where people sometimes came together (sometimes not) and during which Ray Johnson would often perform a “nothing”, part of his performance art practice. Many of his announcements were of fictive or virtual “meetings” of phantom “clubs.” On April 5, 1973, Ray Johnson sent a notice to The New York Times announcing the “death” of the New York Correspondance School. It is signed “Buddha University” with a bunny head. After this date, Johnson’s mailing activities continued apace under many guises such as Buddha University and Asparagus Club. Here are three variant invitations to one of Johnson’s early Buddha University meetings, held at the Onnasch Galerie on Spring Street, New York, January 19th 1974. Each of the xeroxed sheets… Read More