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

Munich.: Galerie Stangl., 1969. Loose as issued in printed three-part folder, illustrated with offset black-and-white illustrations and artist’s biographical details.. (28.2 x 19.7 cm).. Folder published on the occasion of the travelling group exhibition, Konzeptionelle Kunst, which brought together artists from the Munich based ‘Studio UND’ with other concrete artists: Antonio Calderara, Günter Fruhtrunk, Raimund Girke, Reimer Jochims, and Karl Prantl. Throughout 1969 the exhibition travelled from Galerie Stangl in Munich, to Galerie Der Spiegel in Cologne, Galerie Appel & Fertsch in Frankfurt, and then to Galerie Nächst St. Stephan in Vienna. The folder was published in an edition of 240 unnumbered copies, and contains five original colour screenprints printed on card, one by each of the five artists. This special copy has four of the prints signed: Calderara (signed in pencil on recto), Fruhtrunk (signed on verso), Girke (signed on verso), and Prantl (signed on recto). With introductory… Read More

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

Pittsburgh.: The Carnegie Museum of Art., 1987. 90.2 x 127.8 cm.. Large folded offset poster printed on the occasion of Baumgartner’s major exhibition at the Carnegie Museum, October 1987 - January 1988.

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

Milan.: Françoise Lambert., 1970. Single card, printed both sides (19 x 14.4 cm).. Announcement card for the exhibition at Galerie Françoise Lambert, opening on November 26, 1970, which featured drawings collages, and studies for Christo’s Milan projects: Arco della Pace Wrapped, Curtains for La Rotonda, Wrapped Monument to Vittorio Emanuele, Piazza del Duomo, and Wrapped Monument to Leonardo da Vinci, Piazza della Scala. The announcement is signed by Christo and Jeanne-Claude in blue crayon.

Vienna.: Self-published., 1967. Single sheet with mimeographed text printed in blue in white paper.. (29.7 z 21 cm).. In 1967 Muehl coined the term “Cinema Direct Art”, which is aligned with that of “Direct Art”, the designation for the ‘direct’ action on reality as practised by the Vienna Actionists. It was the success of the films by Kurt Kren and Ernst Schmidt on the one hand, and Muehl’s dissatisfaction with their ""dismemberment"" of his work on the other, which led Muehl to produce 16mm films from the spring of 1967 onwards. Muehl himself often stood in front of the camera, and had little influence on the recordings themselves. The cinematic means are simply used: fixed camera, long shot or close up, and no sound. The venue was usually the cellar leased by Muehl in Perinetgasse and the apartments of Muehl, Brus and others. Muehl always insisted on showing his films in his own programs. The first demonstration was of two of his films ‘Grimuid’ and ‘Wehrertüchtigung’ on… Read More

Tokyo.: Gallery Décor., 1972. Loose as issued in original black and neon pink portfolio, housed in the original outer cardboard mailing box with string ties. Dampstaining to left edge of box. (47 x 62 cm).. Title + half-title sheets, printed red and black on yellow card. Complete with 12 original screenprints by Keiichi Tanaami, each numbered, dated and signed by the artist in pencil. Few pf the prints with a small area of staining to lower left corner of sheet and foxing to right edge, not affecting the image. Overall a very good set. Keiichi Tanaami was born in Tokyo in 1936 and graduated from the college of design at Musashino Art University. Since the 1960s he has traversed the boundaries of media and genre, active in graphic design and illustration, and also animation, experimental film, painting, and sculpture. During the ’60s, Tanaami’s works played a significant role in the introduction of pop art and psychedelic culture into Japan. He designed, for instance, album covers for the… Read More

New York / Colombes.: Multiples Inc. / Générations., 1977. Original wrappers. A fine copy.. (20 x 20 cm).. pp. (84). Artist’s book, published in an edition of 2000 copies. Consists of full-bleed colour reproductions of 78 grid combinations of the components as listed in the title. [Ref. Giorgio Maffei & Emanuele de Donno - Sol LeWitt Artist’s Books, p. 72; Anne Moeglin-Delcroix - Esthétique du Livre d'Artiste 1960-1980, pp. 272-273].

Berlin.: Edition René Block., 1972. Contents loose as issued in original pale green linen-covered box, with printed label posted to lid.. Box (26.2 x 36 x 3.5 cm).. Collection of 72 sheets of black cardstock forming a file of ideas, with glued-down papers containing collage, montage, and 129 typed ""pieces"" by Arthur Köpcke, covering the years 1958-1964, each sheet of cardstock reading ""you can put each piece as a way of action for the rest of the pieces"" along the top edge. Published in a limited edition of 150 copies, numbered and signed by Köpcke to inside of lid. Each copy is slightly different due to the collage elements and the fact that some of the montaged paper elements include hand-colouring by the artist. A self-taught artist, Arthur Köpcke created works across a variety of media, including literature, painting, object art, conceptual art, and action art. Although he was influenced early on by surrealism, Dada, and futurism, Köpcke discovered a community of like-minded individuals… Read More

Wuppertal.: Verlag Kalender (Hansjoachim Dietrich & Bernd Ebeling)., 1960. As well as going on to publish several landmark books and texts under their imprint Verlag Kalender, Hansjoachim Dietrich and Bernd Ebeling began their collaboration by publishing their own magazine, which in turn provided them with an outlet for their own artistic endeavours. [No complete institutional holdings found worldwide. WorldCat lists only the first issue at Hofstra University Library, NY]. Nr. 1 (1960) (27 x 21.7 cm). Screenprinted wrappers, with hand-painted additions, signed in pencil by Bernd Ebeling on the rear cover. Rubber-stamped by both artists on inner front flap, Kalender stamp on rear flap. Contents, loose as issued, consist of a woodcut illustration printed on brown paper, and an original black-and-white photograph, both signed in pencil by Dietrich. Nr. 2 & 3 (27.5 x 21.1 cm). Large woodcut by Dietrich, printed on cream paper, and folded to produce the wrappers. The print is signed in pencil by… Read More