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

Amsterdam.: Stichting de Appel., 1985. Artist’s publication. One small clothbound book + two audiotapes, issued in original yellow box.. Box (21.5 x 12 cm).. pp. (95). Around May 15th 1982 the Dutch conceptualist Johan Cornelissen left for Sao Tomè, the island nation of Central Africa, the starting-point of his journey along the equator. During the previous years Cornelissen had carried out several travel-projects which focussed on the relationship between topographical phenomena and reality. During his equatorial trip the artist wanted to confront the abstraction (the line) with the reality of the region where mankind draws that imaginary line. Cornelissen's primary intention was not to follow the imaginary line closely, but the realisation of various artistic activities within the immediate vicinity of the equator. Through De Appel gallery in Amsterdam these works were communicated, distributed by several media, such as newspapers, radio, print. De Appel produced this artist’s publication in… Read More

New York.: Betty Parsons’ Gallery., 1951. Original cream wrappers, with minor handling marks, browning and spots to covers, internally good. Folded poster with resultant tiny holes in central folds, pinholes to corners of sheet and 1cm tear to right edge not affecting image.. (27.8 x 21.5 cm; unfolded poster 43.3 x 56 cm).. pp. (16). The black pourings, a series of enamel and oil paintings from 1951 marked a change of direction for Pollock, away from the previous colourful lyrical works. Pollock would almost calligraphically apply the paint with sticks and basting syringes. This new technique replaced the encrusted dripping paint of previous works, focusing on a more direct relationship between unprimed canvas and black enamel paint. The series of black paintings were first exhibited at the Betty Parsons Gallery in New York, November - December 1951. The 16-page catalogue for the show reproduces, in screenprint, sixteen of the black paintings, including one on each of the front and rear covers.… Read More

London / Ostfildern-Ruit.: Michael Hue-Williams Fine Art / Hatje Cantz., 1999. Publisher’s yellow/green cloth, with titles stamped in blue. The book and three card folders housed together in a matching cloth-covered drop-back box with an offset reproduction of an engraving mounted to front.. Box (29.7 x 23.1 x 4.3 cm).. pp. 97. Colour & black-and-white illustrations including a fold-out plate. For the eclipse of the sun on 11th August 1999, James Turrell conceived two perceptual spaces in the extreme south-west of Cornwall: a Skyspace with the title The Elliptic Ecliptic, which he constructed on a slope opposite St. Michael's Mount, and the Shallow Space Construction in Newlyn Art Gallery, which he named Arcus. This book includes photos by Turrell that document the temporary work. The book is accompanied by a CD specially recorded for the project with compositions by Paul Schütze. This copy from the deluxe edition limited to 100 copies (+ 10 roman numeral copies + 10 artist’ proof sets). This… Read More

Lund.: Edition Sellem., 1974. Original black wrappers, stapled, with title label pasted to front cover.. (21.1 x 21.4 cm).. pp. (14). With 3 black-and-white offset tipped-in plates. Handwritten text printed in facsimile. Artist’s book, published in an edition of 150 copies, numbered and signed in pencil by the artist on the colophon. Paul-Armand Gette is an entomology enthusiast, and it is this interest in natural science that prompted him, as an artist, to cast a scientific eye over Nature (which he studies meticulously). Many of his early artist books have the study of botanicals at their core. This book is a photographic tribute to European gardens Gette had visited between September 1973 and June 1974.

Zürich.: Seedorn Verlag., 1982. Original white printed wrappers with titles in red and black to front cover. Mild yellowing to spine, otherwise good.. (18.7 x 14.1 cm).. pp. (30). Artist’s book of poetic fragments by Marcel Broodthaers. From the edition limited to 524 copies, with this unnumbered example one of the 500 ordinary copies printed on 'papier d'édition'. The text was conceived by Marcel Broothaers in 1962 - 1963 but the work was published posthumously: 'L'original qui ne porte ni date ni titre comprend trois feuilles dactylographiées. La première ligne du texte a été choisie comme titre.' (from the 'Note de l'éditeur’). This copy inscribed by the French painter Jean-Michel Alberola on front flyleaf.

Athens.: Deste Foundation., 1999. Loose as issued in original primted wrappers. Small tear to upper hinge, otherwise good.. (39.3 x 29.3 cm).. pp. 47. Colour illustrations throughout. Catalogue published on the occasion of Koons’ show at the Deste Foundation’s Centre for Contemporary Art, December 1999 - May 2000. Text by Jeffrey Deitch. This copy with a fine inscription on the title page by Koons to the Greek-born German curator Christos Joachimides. Koons writes in his trademark silver felt-tip, “Christos, thank you for all your support over the years ! With love, Jeff 5/10/00”. On the inside front cover, facing the title page, Koons has also added a trademark large silver felt-tip flower drawing, sketched over a printed illustration of a vase of flowers.

New York.: The New Museum., 1981. Original yellow wrappers. Slight bumping to fore-edge, otherwise good.. (20.2 x 23 cm).. pp. 77. Published on the occasion of exhibitions at The New Museum, New York, The Contemporary Arts Center, Cincinnati, University Art Galleries, Dayton, and Contemporary Arts Museum, Texas. With essays by Marcia Tucker and Robert Pincus-Witten and an interview with the artist by Nancy Drew and Carrie Rickey.

Venice.: Galleria del Cavallino., 1968. Folded card, 4-page.. (20 x 19 cm).. Brochure printed for the Tornquist exhibition at the Galleria del Cavallino, Venice, 5-16 December 1978. Text by artist, and with one colour illustration and one black-and-white illustration. Short biographical note.

Berlin.: Nationalgalerie. Staatliche Museen Preussischer Kulturbesitz., 1977. Original printed wrappers.. (29.5 x 21 cm).. pp. 104. A well-illustrated publication celebrating the first major Beuys accession for the Berlin Nationalgalerie in 1977, the acquisition of the work 'Richtkräfte’. It consisted of 100 school blackboards, mostly drawn and written on as the result of a four-week-long action by Beuys at the ICA London (1974). Whilst the catalogue includes texts by Beuys and Christos M. Joachimides it consists primarily of installation photographs from the installations of Richtkräfte at the ICA, the René Block Gallery, New York (April 1975), La Biennale Venice (1976), and finally Berlin (March 1977). This copy from the collection of the catalogue’s editor Christos Joachimides. It includes an inscription from Beuys in pencil on the title page: “Lieber Christos, du hast hiermit eine wirklich schöne und richtig Arbeit gestorn, herzlichen dank, dein Joseph” (Dear Christos, you have done… Read More

Berlin.: Senator für Jugend und Sport., 1964. All items loose as issued illustrated paper-covered lidded box. . Box: (32 x 44 x 4 cm).. Collection of 1 filmstrip, 10 original photographs, 4 vinyl records, 4 booklets, and 4 newspapers relating to the 'proper political view and education' of youth in the DDR (Deutsche Demokratische Republik) in East Germany.  Jugend im System is a multimedia collection of classroom materials designed to educate school students in West Germany about the lives of their young peers in the Communist-run East German DDR. The contents are packaged and illustrated throughout with bold 1960s constructivist photomontage designs by Anton Stankowski. Overall it presents a fascinating portrait of the lives of East German school children at the height of the Cold War, shortly after the assassination of John F. Kennedy (most of the included newspapers reference his death). Stankowski's designs for the collection emphasize a sense of ideological control and systemic enmeshment,… Read More

New York.: Seth Siegelaub., 1969. Publisher’s printed wrappers, stapled. Slight toning to edges and small stain to rear cover, otherwise good.. (27.7 x 21.5 cm).. pp, (v), 26, (1). Black and white illustrations throughout. From 1964 to 1966, Seth Siegelaub had a conventional art gallery in New York, showing the work of several younger artists. However, about 1968 Siegelaub changed his practice and began to work mainly with a small group of artists since known as conceptual artists. Siegelaub's innovative use of the exhibition catalogue was yet another twist to this story. For three different group shows - in January, March, and July 1969 - Siegelaub published catalogues that largely constituted the exhibitions. In the first, January 5 -31, 1969, three-quarters of the works were shown in the catalogue and not in the space. In the second, [One Month] 1969 March 1969, only verbal works were solicited. And in the third, July, August, September 1969, the actual locations of the works on exhibit were… Read More