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

Vence.: Pierre Chave / Kenneth Nahan., (1972) 1989.. Loose as issued in original publisher's printed wrappers with vignette by Ernst to front cover, blue cloth chemise with purple vignette (a reduced version of that for the wrapper) and title to spine in purple, matching slipcase.. (39.6 x 28.8 cm).. pp. 95, (i). Illustrated with 34 original colour lithographs (frontispiece and 24 full-page, 9 as head- or tail-pieces) and 2 original vignettes by Max Ernst. From the edition limited to 714 numbered copies, with this one of 217 copies on Vélin d'Arches in English, signed by the author and artist. The lithographs for all the variant language editions were printed at Atelier Chave in 1972, contemporary with the preparation and publication of the edition of the French text (a total of 315 copies). A German language edition (also consisting of 199 copies plus 18 h.c.) was published. This English translation, prepared in 1972 by Nicolette Bernard, Peter Leslie and George Kimball, was not actually printed… Read More

Geneva.: Centre Genevois de Gravure Contemporaine., 1989. Contents loose as issued in folder.. (51 x 22.3 cm).. Illustrated portfolio (folded in three) with 4 small boxes of cards (Sounds & Projections); 12 loose pages with poems and the colophon. Published in an edition of 1000 numbered copies, signed on the colophon by Emmett Williams and Jean-Marie Antenen. The portfolio contains loose sheets with typographical poems, laid into a tri-folding game board also containing four small boxes with printed game pieces; explanatory text by Robert Filliou.

Cologne., 1968. Screenprinted poster. folded three times with resulting creases.. (85.5 x 59.8 cm).. An important if short-lived institution founded in response to, and against, the second grand Cologne art fair of 1968, was 'Labor e. V. zur Erforschung akustischer und visueller Ereignisse' (Laboratory for the research of acoustic and visual events), initiated by Maurizio Kagel and Wolf Vostell. Labor was founded in order to cross the boundaries between the art forms and media, in other words art, poetry and music, film and video, concept and process art. Authorship was often neglected, and private and semi-public venues replaced cinemas and museums. The 'Labor' group, for example, exhibited for 6 days from the 15-20 October 1968, in the garage under the Kunsthalle in Cologne. The poster is dated and signed by Vostell in the lower right corner.

New York.: Heiner Friedrich, Inc., 1977. (10 x 22.8 cm), folded; (10 x 45.6 cm), unfolded.. pp. (4). Offset-printed single-fold exhibition card published in conjunction with the Flavin show held January 15 - February 26, 1977.

Brussels.: Éditions Cyannur & Henri Chopin., 1970. Original glossy wrappers, some foxing to covers otherwise good.. (20 x 20 cm).. Unpaginated c. 250 pp. Illustrated with numerous dactylopoems, a folding plate and colour plates, enriched with an original poem by Pierre Albert-Birot, an afterword by Ariette Albert-Birot and a 7-inch vinyl audio-poem by Chopin, ""Pêche de nuit"" from 1957. Published in an edition of 1150 copies. This copy with a fine contemporary inscription by Chopin on the first blank, presenting the book to his friend and fellow artist Gianni Bertini. [Ref. Ursula Block & Michael Glasmeier - Broken Music. Artists’ Recordworks, p. 234; Guy Schraenen - Vinyl records and covers by artists, p. 59].

Paris.: Jean Hugues., 1959. Publisher’s wrappers. (15 x 10.2 cm).. pp. (8), 40, (4). With a double frontispiece by Max Ernst. Edition limited to 365 stamp-numbered copies. Published as Volume II of the series 'Le Cri de la Fée’. This copy from the collection of Joe Tilson, inscribed by him in pencil on initial blank, and with his ink-stamp address.

Paris.: Galerie J., 1962. (18.3 x 23.8 cm).. Ephemera regarding one of Christo’s first major public art installations. During eight hours on the evening of June 27, 1962, Christo and Jeanne-Claude closed the narrow Rue Visconti in Paris with 89 rusting oil barrels. The art barricade was 13.7 x 13.2 x 2.7 feet (4.2 x 4 x 0.5 meters). The installation was a protest against the Berlin Wall which had been built in August of 1961. A replica wall was built inside Galerie J, located on the corner or rue Clément and rue Montfaucon. Presented here is an original black and white photograph of the installation at Galerie J (18.3 x 23.8 cm), signed and dated June 1962 on the verso by Christo. Photo with tape staining to verso. Added is a copy of the gallery’s original invite to the event of the 17 June 1962 (22.6 x 14.3 cm), in which participants are invited to gather at the gallery at 8pm, and then proceed to walk through the streets of Paris to Christo’s barrel wall at rue Visconti. The invitation… Read More

Turin.: Self-published by the artist., 1967. Original grey wrappers, stapled.. (18 x 13 cm).. pp. (16). Text only, printed in both Italian and English (English translation by Henry Martin). Pistoletto’s first book, published in an unspecified edition (although only 60 copies were declared by the artist to have been produced). A landmark Arte Povera publication, confirming that writing was not a secondary activity for Pistoletto, but an essential part of his artistic practice. The text is divided into two chapters called ‘La speculazione’ and ‘L’essere’. This concept of the dual self is a theme that has been tackled by a number of contemporary artists worldwide. Pistoletto focused much his artistic career on mirrored works which capture the reflection of the viewer. “Man has always attempted to double himself as a means of attaining self-knowledge” (from ‘Le ultime parole famose’). [Ref. Giorgio Maffei - Libri e documenti. Arte Povera 1966-1980, p. 162; Germano Celant - Book as… Read More

Paris.: éditions Art Forum., 1975. Loose as issued in original black cloth chemises, seemingly lacking the slipcase.. (35.5 x 27.2 cm).. pp. 62. With 36 colour and monochrome tipped-in plates. Published in an edition of 150 copies, with three original screenprints by Peter Klasen printed on vélin à la cuve (each 53 x 36 cm), and one screenprint printed on acetate with syringe collage element (unfortunately the acetate sheet has a lengthy tear across the top of the image). Each of the four prints are signed and numbered by Klasen in pencil.

Hartford, CT.: Wadsworth Atheneum., 1985. Stapled photocopied brochure.. (21.7 x 14 cm).. pp. (12). Three black-and-white illustrations. Brochure published to accompany the installation of Vito Acconci’s Maze Table, commissioned by the Lions Gallery of the Senses in the Wadsworth Atheneum, and constructed with the assistance of a grant from the National Endowment for the Arts. The sole artwork in an exhibition titled MATRIX, the large plated glass and silicone Maze Table was initially conceived by Acconci with the visually impaired in mind. The exhibition ran from May 11 - June 23, 1985.

London.: Goldsmith’s College., 1963. Original purple silkscreen front wrapper (a detail of a clenched fist), designer unknown. Sheets stapled to left edge. Small areas of damp-staining, mostly affecting only the cover sheet and final page.. (8.8 x 21 cm).. With 22 sheets, each with a few lines of mimeographed typed text printed recto only. Printed program for one of the earliest manifestations of Fluxus in the UK, organised by a Rock icon in his youth. John Cale is today famous for being the founding member of the American rock band the Velvet Underground. In his youth, having discovered a talent for the viola, Cale studied music at Goldsmiths College, University of London. As a student, Cale became friends with the experimental composer and former Stockhausen assistant Cornelius Cardew. Together they both organised 'A Little Festival Of New Music' held at Goldsmith’s College on July 6, 1963. This was to be one of the most significant Fluxus events to be held in London, highlighting as it did,… Read More

Cologne.: Verlag M. DuMont Schauberg., 1971. Publisher’s wrappers. German language edition.. 22.9 x 21.2 cm.. Unpaginated Numerous black and white illustrations throughout. Photo-documentation concerning one of the most experimental and radical American theatre groups. Founded in New York in 1947 by the German-Jewish émigré Judith Malina and the American Julian Beck, the Living Theatre was one of the first theatre ensemble to stage works by European authors such as Bertolt Brecht, Jean Cocteau, Gertrude Stein or T. S. Eliot. Known throughout the 1950s for artistic avant-garde productions, the theatre later became more and more part of the beat and hippie counterculture, and an important focus for the protest movement against the Vietnam War.

Amsterdam.: Stedelijk Museum., 1969. Colour postcard.. (15 x 10.5 cm).. Throughout 1969, in and around London, Gilbert & George organised numerous presentation as living sculptures (Underneath the Arches, Meeting Sculptures, The Meal, The Singing Sculpture), for which they typically covered their hands and faces in multi-coloured metallic paint to look like bronze statues and simply stood, sang, or moved together for a certain amount of time. On November 22 of 1969, from noon to 5 p.m., Gilbert & George gave their first presentation outside of the UK, on the interior stairs of the Stedelijk Museum, Amsterdam. ‘Posing on Stairs’ was carried out at the suggestion of Ger van Elk and authorised by curator Wim Beeren, but unannounced to the general public, which was clearly puzzled by the artists’ appearance. This postcard produced to commemorate the performance, shows the artists on the museum’s steps, with George availing himself of the handrail and Gilbert seated on a step. Photograph by Ad… Read More

Brescia.: Paul de Vree & Sarenco., 1975. Original printed wrappers, stapled.. (24.7 x 20.5 cm).. pp. (24). Black-and-white photographic illustrations throughout. This forty-sixth installment of Paul de Vree's art and literature periodical Lotta Poetica is a special monographic issue devoted to Joseph Beuys. Consists of Caroline Tisdall's photographic documentation of Beuys’ 1974 piece ""Three Pots Action in the Poor House"". The photographic front cover in fact illustrates the meeting between Beuys and his friend, the great Greek composer and political activist Mikis Theodorakis, which took place in Berlin in June 1973. This copy has a fine inscription in pencil from Beuys, written across the front cover, presenting this very copy to Theodorakis: “Joseph Beuys für Mikis Theodorakis. Ich war sehr traurig, daß ich nicht in Düsseldorf war als du dein konzert hattest”. (I was so sad, that I was not in Düsseldorf when you had your concert). A remarkable copy with such a dedication.

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

Zeist.: Instant Composers Pool., 1969. 12-inch LP vinyl record, in original printed die-cut sleeve. With green inner sleeve.. (31.2 x 31.2 cm).. Willem Breuker was a Dutch jazz bandleader, composer, arranger and reeds player (1944-2010). He was co-founder of the ICP (Instant Composers Pool), and since 1974 led the Willem Breuker Kollektief, which performed jazz in a theatrical and often unconventional manner. This release, one of Breuker’s earliest, was recorded live at Amsterdam’s Dam Square, on March 26, 1969, at lunchtime. The three barrelorgans were called Pipo, Puntkapje and Snotneus.

(Berlin).: S.O.36. (Martin Kippenberger)., 1979. Two 7”, 45rpm vinyl records. Each housed in original printed sleeves.. (18 x 18 cm).. Luxus was the name given to the ""band"" formed by Martin Kippenberger, Christine Hahn and Eric Mitchell, the latter two being important artists in the No Wave scene in New York. This was the only release on the S. O. 36 label, named after the nightclub Sud Ost, which Kippenberger briefly managed in Berlin, and which hosted shows by Throbbing Gristle, Wire, and other post-punk and No Wave projects. The record consists of street and background noises together with provocative drumming by Kippenberger. Most copies have the two discs bound together with a 6-page stapled cover. This is a variant issue, with the records bound separately, one with four pages of illustrations, the other with three pages. [Ref. Ursula Block & Michael Glasmeier - Broken Music. Artists’ Recordworks, p. 158].

Liège.: Yellow Now., 1974. Original wrappers.. (14.1 x 11.2 cm).. pp. (56). With 22 monochrome offset illustrations. For over 40 years, Anne and Patrick Poirier have visited, carried out excavations, collected and inventoried sites and relics from ancient civilizations. This interest in travel and the discovery of world heritage is deeply rooted in their artistic practice. They belong to the first generation of artists who have travelled the world in an attempt to understand the organization of ancient cities, and more particularly, their disappearance. Eschewing the conventional roles of sculptor or painter, they have assumed the mantles of archaeologist and architect, and their work is not so much formal research, as it is a journey through time and human memory. ‘A la Mémoire de Romulus’ is the Poirier’s first artist’s book, published to accompany an exhibition at the Yellow Now gallery in Liège in 1974. Under the auspices of Guy Jungblut, Yellow Now, as well as being a gallery space,… Read More