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

New York.: Leo Castelli., 1980. Original poster printed on textured paper. Machine folded twice for mailing. Fine copy in original mailing envelope.. (57.5 x 45.5 cm) unfolded.. Poster published on the occasion of Ruscha’s exhibtion at Leo Castelli, September-October 1980.

Lucerne.: Kunstmuseum Luzern., 1980. Publisher’s wrappers, stapled.. 23 x 17 cm.. pp. 24. The fourth of four short works or trivial stories that were then reprinted and included in Volume 35 of The Collected Works of Dieter Roth. Printed in an edition of 600 copies. [Ref. Dobke - Dieter Roth. Books + Multiples, p. 217].

Essen.: Museum Folkwang., 1977. Publisher’s yellow warppers, title printed in black on front cover and spine.. (20.5 x 15 cm).. pp. (172). Offset black-and-white reproductions of 318 photographs. Feldmann spent a period of over six weeks in Essen and the surrounding Ruhr district, travelling by car and taking hundreds of black-and-white photographs. As usual Feldmann did not select any spectacular images for the 318 photographs used in the book. Instead, we are presented with blurred photographs, overcast images that reflect the artists reality: nondescript housing blocks, disjointed views of parked cars, empty fields, electricity pylons, randomly angled close-ups, and other general scenes of mundanity. [Ref. Hans Dickel, Kunstlerbucher mit Photographie seit 1960, p. 91; Werner Lippert, Feldmann: Das Museum im Kopf, p. 100.]

Munich / Paris.: Galerie Heiner Friedrich / Yvon Lambert., 1975. Publisher's wrappers. Small brown stain to upper spine.. (32 x 24.6 cm).. pp. (28). En lisant la Lorelei was installed as part of Broodthaers’ legendary “Eloge de sujet” show at the Kunstmuseum Basel in November 1974. This artist book was published as a result the following year. Published in an edition of 116 copies, the book was intended to be signed by Broodthaers, but due to his untimely death the copies are signed with the estate stamp: “Estate Marcel Broodthaers”. Includes a foreword by the artist and the text of Heinrich Heine’s poem “Die Lorelei”, in German and French on opposite pages. Illustrations consist of seven full page facsimiles of excerpts from German and French stock exchange tables, six pages of drawings incorporating decals for commercial artists, and six pages of reproductions of 19th century graphic images of the Lorelei rock and vicinity. In the romantic Rhine Valley near the town of St.… Read More

Wroc_aw.: Galeria Permafo., 1981. Original yellow wrappers, stapled. Slight rubbing to spine, otherwise good.. (15 x 10.5 cm).. pp. 32. Black-and-white illustrations. Artistic bulletin of the PERMAFO Gallery and art group, founded in 1970 by Wroc_aw neo-avant-garde artists Zbigniew D_ubak, Andrzej Lachowicz and Natalia LL (Lach-Lachowicz) and art critic Antoni Dzieduszycki. The group, with the participation of other artists, was active in Wroc_aw in the years 1970-1981, and before the Permafo gallery closed in 1981, it was a leading hub of Polish conceptual art. The booklet includes the following texts: Seans _nienia Natalii w piramidzie (Marian Krzysztan), Sztuka jako do_wiadczenie wewn_trzne (Natalia LL), Telehydrografik (Jerzy Roso_owicz), O radiegrafii (Jerzy Roso_owicz), Energia upadku (Andrzej Lachowicz). Printed in an edition of 300 copies, this copy has an autograph dedication from Andrzej Lachowicz on the title page, dated 29.11.81.

London.: Self-published., 1970. Two one-sided white sheets of paper, text printed offset black.. Each page (29.7 x 21 cm).. Complete set of the three French-language Enonce_s performatifs, each printed in an edition of 20 copies, dated, numbered and signed in pencil by Victor Burgin in the lower margin of the second page. One of Burgin’s earliest conceptual works. The term ""Enoncés performatifs"" (Performing Utterances) was in fact created by Alfred Pacquement in the French contemporary art journal ""Art Press"" in 1972. Austin writes: “The constative utterance, under the name, so dear to philosophers, of statement, has the property of being true or false. The performative utterance, by contrast, can never be either … it is used to perform an action. To issue such an utterance is to perform the action, action which might not be accomplished”. Burgin’s texts are divided into propositions describing an event at a general rather than a particular level (they do not necessarily refer to any… Read More

Brighton.: The Gardner Centre Gallery, University of Sussex., 1979. Original wrappers. Sun-bleached along lower edge of front cover, otherwise good.. (11.4 x 16.5 cm).. pp. (112). Early conceptually driven artist’s book by Susan Hiller (1940-2019). “The texts represented in this book have been selected, organised and reproduced photographically from two anonymous compendiums of general knowledge. I used some of the same material in two slide works also called Enquiries (first shown at Gallery House, London, 1973) and Inquiries (first shown at the Serpentine Gallery, London, 1976)”. Hiller’s work Enquiries / Inquiries consists of pages from a British Encyclopaedia and an American one. The piece not only articulates Hiller’s personal relocation and adjustment from the United States to London, but the disparity between the two books, both purportedly written in the same language. This copy inscribed by Hiller in pen on the half-title: “For Richard [Bernas] - Thank you for the pick-ups &… Read More

Bleiburg & Vienna.: Self-published (Hubert Fabian Kulterer & Hannes Schneider)., 1961-1971.. 24 issues in 20 volumes (including four double numbers). Original printed wrappers, stapled.. Each issue (30.2 x 21.3). 16 - 40 pages per issue. Complete set. Eröffnungen, translated as ‘Openings’, was first published in January 1961 in Carinthia (with its own editorial office in Vienna) and was one of the first art and literary magazines published in Austria which oriented itself towards the young Viennese avant-garde. It namely drew its inspiration and contributions from two major strands of this new Austrian avant-garde, the ‘Art-Club’ and the Wiener Gruppe, whose members included HC Artmann, Friedrich Achleitner, Ernst Jandl, Konrad Bayer and Gerhard Rühm. With the early numbers of the magazine, the visual art was restricted to the covers of each issue, primarily illustrating the work of Ernst Fuchs. The particular brand of the Wiener Schule des Phantastischen Realismus (Vienna School of… Read More

Eschenau.: The Eschenau Summer Press / Herman de Vries., 1980. A single sheet of red card, with printed title in black on front. The sheet has been deliberately partly burned along it’s left edge, and inserted in a transparent plastic sleeve. Fragile with burnt fragments as designed.. (21 x 14.5 cm), uneven size.. For Bernard Aubertin, fire was the medium of choice. Many of his works consist of abstract compositions using matches that were later burned, creating variations caused by the spontaneous nature of flame. The destructive nature of fire became, for Aubertin, a mode of creation and rebirth. Published as volume 13 in Herman de Vries’s Eschenau Summer press series of books. Edition of 150 copies, numbered in pencil on label pasted to verso of sheet.

Zürich.: Witikoner Handpresse., 1950-51.. 12 issues. Each loose-leaved broadsheets.. Folio (50 x 35 cm).. 8 pages per issue, apart from the double-issue (July-Aug 1951) with 12 pages. Graphic art periodical, Essence contains original graphics (etchings, collage prints, lithographs, woodcuts, linocuts) and text contributions by Hans Arp, Pierre Baltensberger, Camille Bryen, Michèle Catala, Oskar Dalvit, Albert Ehrenstein, Max Eichenberger, Cornelia Forster, Max Hellstern, K. Hosch, Willy Kautmann, Robert E. Konrad, Leo Maillet, Andri Peer, Franz Karl Opitz and many more. The two expressionist woodcuts by Max Hellstern (issue Oct. 1951) are worthy of special attention. Each issue published in an edition of 777 numbered copies. [Ref. Deutsche literarische Zeitschriften 1945-70: Ein Repertorium, no. 307, p. 242].

London.: ICA. (The Institute of Contemporary Arts)., 1957. Large sheet screenprinted in red and black on translucent paper.. Sheet size (75.5 x 50.5 cm).. Hamilton and the Independent Group again pushed back the boundaries with an Exhibit in August 1957 - an exhibition at the ICA of not just abstract art, but arguably, no art at all. According to Hamilton, the idea for the show came from the Independent Group's earlier landmark exhibition Man, Machine and Motion. “Victor Pasmore came up to Newcastle, he proposed that we might make an exhibition together because he was quite interested in the Man, Machine and Motion exhibition but said he thought it was very beautiful, the only trouble was it had photographs on all the panels. He liked the system but not the photographs ... I proposed that if we were going to do a collaboration what we might do was an exhibition that hadn’t got any photographs but had the panel system and just treat it as purely an exhibition in its own right. The structure would… Read More

New York.: Pierre Matisse Gallery., 1947. Original wrappers, stapled.. (21 x 17 cm).. pp. (12). With 3 black-and-white illustrations. Exhibition catalogue, October - November 1947. The cover is an original lithograph by Dubuffet, printed in an edition of 750 copies.

(Berlin)., 1979. (7 x 14 cm).. An example of Dieter Roth’s hand-drawn Exil business cards. The drawings are mostly a combination of stamps, coloured felt-tip pen and pencil. Signed and dated by the artist. Verso of the drawing with printed address details for the Exil Bar in Berlin. At that time, the ""Exil"" was the most important artists' bar in Germany and attracted not only artists but also musicians such as Chet Baker and David Bowie or film stars such as Romy Schneider or directors such as Rainer Werner Fassbinder and Martin Scorsese. Dieter Roth was a regular guest and friend of one of the owners of the bar, Reinald Nohal. At that time he produced around 1000 different business cards, each of which he signed personally.