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

Naples.: Modern Art Agency., 1971. Thick printed card wrappers, with fragile gummed spine.. (30.8 x 21 cm).. pp. (20). Full-page black-and-white illustrations. Includes an interview with Beuys by Achille Bonito Oliva, and an essay by Filiberto Menna. Texts in Italian with English translation. Published on the occasion of the exhibition by Beuys on the 13th November, 1971 in Naples. Lucio Amelio founded his gallery Modern Art Agency in Naples in 1965, and it was Amelio who introduced Beuys to the Italian art world with this solo exhibition in 1971.

1968. (21 x 28.5 cm).. Empty envelope (contents now lost), mailed by Dorothy Herzka on behalf of her husband Roy Lichtenstein, from the artist’s studio on the 4th floor of 190 Bowery in New York City. The postage stamps arranged on the front of the envelope, featuring Apollo astronauts and a spacecraft, form a distinctive Pop art collage.

Ostfildern-Ruit / Munich.: Edition Cantz / Kunstverein München., 1992. Original wrappers, green text on orange (another version has the colours reversed).. (28 x 21.5 cm).. pp. 112. With 182 illustrations, 48 in colour. Copy of the paperback edition in the green on orange version for the exhibition of the same name at the Kunstverein Munich, with contributions by Helmut Draxler, Diedrich Diederichsen and Rainald Goetz. A fine copy signed by Albert Oehlen in blue pen on the title page. [Ref. Uwe Koch - Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 112, pp. 258-260].

Newcastle upon Tyne / London.: King’s College in the University of Durham / Institute of Contemporary Arts (ICA)., 1955. Original printed wrappers, stapled.. (23 x 15 cm).. pp. (56). Black-and-white illustrations throughout, printed on both plain and tinted papers. In 1955, when Richard Hamilton was a professor at the University of Newcastle upon Tyne he conceived the project ‘Man, Machine and Motion’ as an exhibition that would represent a visual study of man’s relationship with moving machines. The work was first mounted in 1955 in the Hatton Gallery, in Newcastle, before later moving to the ICA (Institute of Contemporary Art), in London. The installation shared certain connections with some of Hamilton’s 1950s paintings that explored the theme of movement in the photographs of Muybridge, Cubism, Futurism and Duchamp’s Dada works, but overall they incorporated the world of cinema, sporting achievements and his interest in and experience of machine design, which he shared with the critic… Read More

Paris.: Galerie Sonnabend., 1969. Original wrappers.. (12 x 10.2 cm).. pp. (28). With 10 black-and-white illustrations. Exhibition catalogue for an exhibition of works by Mario Merz at Galerie Sonnabend in Paris, with a short introductory text in French listing questions posed to the artist on the exhibited works and their answers. Biography and bibliography.

Zürich.: Kunsthaus Zürich., 1998. Poster folded as issued. Printed both sides with black-and-white captioned reproductions; with a list of the 40 exhibited works.. (Unfolded 71.8 x 46 cm).. Poster printed to accompany the Kunsthaus Zürich exhibition, September-November 1998. Originally published as a loose insert in ‘Martin Kippenberger Die gesamten Plakate 1977 - 1997’.

Düsseldorf.: Self-published. (Distributed by Jürgen Dahl, Krefeld)., 1959. Four A4 sheets of duplicated typewritten texts, printed single-side.. (29.5 x 20.8 cm).. On the 30th January 1959, at 8pm, at the opening reception of an exhibition of Jean Tinguely at the Galerie Schmela in Du_sseldorf, Daniel Spoerri, Nusch Bremer and Claus Bremer simultaneously read three poems, placed in front of them at eye level and rolled around a cylinder that rotated at its own speed as the reading progressed. The participants then had to make arbitrary choices about which words, phrases, or sentences to use. The resultant cacophany resulted in an absurd presentation reminiscent of the Dada Cabaret Voltaire. In March 1960, when the Edition MAT was exhibited at the Gallery One in London, Spoerri organized a simultaneous reading at the Institute of Contemporary Art in London with the audience participation. Presented here is a complete set of the four typewritten sheets, printed with the three texts to be performed:… Read More

New York.: The Museum of Modern Art., 1951. Original cloth with printed dust-jacket and plain card slipcase. T.e.g. Minor tears to head and base of dust-jacket spine, otherwise a fine copy.. (26 x 20.3 cm).. pp. 592. First edition of this monograph, illustrated with numerous colour and black-and-white reproductions. It is the only one that was composed during the artist's lifetime and with his collaboration; it thus remains a classic reference work on his work. This one of the 495 limited edition copies, signed by the author Alfred Barr on the colophon, and with an original lithograph by Henri Matisse.

New York.: Sonnabend Gallery., 1973, 1975 & 1976.. Postcards, the latter two mailed to Museum of Contemporary Art, Chicago.. (10.2 x 15.2 cm; 10.1 x 15.1 cm; 11.4 x 15.8 cm).. Three announcement cards for Bochner exhibitions held at Sonnabend Gallery, the first held in September-October 1973, then March of 1975, and the third, February 1976.

Grenchen.: Verlag Galerie Toni Brechbühl., 1969. Loose as issued in original pink paper-covered chemise, with plain slipcase.. (28.5 x 19 cm).. pp. (35). With 8 original hors-texte prints by Reinhold Koehler, each signed in pencil. Artist’s book, published in an edition of 40 copies, signed by both Heissenbüttel and Koehler on the colophon page. This is one of the first five copies with eight signed prints by Reinhold Koehler (the remaining 35 copies only with six prints). Published as the second volume in the series ‘Das Grencher Kleinbuch’. Throughout his career, Reinhold Koehler developed a body of work informed by the art of ‘décollage’. From 1948 until his untimely death in 1970, Koehler experimented intensely with paper, sand, glue, fire, glass and ceramics. In Germany, Koehler single-handedly developed the ‘décollage’ technique which he then subjected to a multitude of experiments resulting in a ranch of radical new techniques. His ‘Décollages Imprimés’, as utilised… Read More

London.: Lion and Unicorn Press., 1963. Original black calf-backed paper covered boards embossed with devices and with Paolozzi designs in silver across both covers. Original clear plastic dust-jacket with some tears and loss to upper edge.. (26.5 x 22 cm).. pp. 64. With 4 photo-lithographs reproduced from separation drawings, and illustrated with numerous colour and monochrome illustrations of Paolozzi’s work. The Metallization of a Dream is an artist’s book / monograph, showing in word and image Paolozzi’s artistic process. Designed and written by John Munday in collaboration with the artist (with a commentary by Lawrence Alloway), the book was described by Paolozzi as “random jottings of ideas…which are developed as I work on my material.. the search for architypes to aid a dream in metal”. It deals with many Independent Group obsessions, including new technology, popular culture, the relationship between body and machine and visual representation. The book's aesthetic is typical of… Read More

Rotterdam.: Museum Boymans-van Beuningen., 1979. Publisher’s wrappers, with printed crystal paper dust jacket. minor tears and browning to jacket.. (29.6 x 21 cm).. pp. 104. Black and white illustrations throughout. Exhibition catalogue, signed and inscribed by Snow on the title page on the opening day of the exhibition. This copy includes the original press relase announcement sheet, inserted loose.

Paris.: Galerie de l’Institut., 1956. Original wrappers, stapled.. (22 x 15.5 cm).. pp. 8, + 8 pages of black and white illustrations. Loose leaf inserted with a list of exhibited works. Catalogue published to accompany the exhibition of Larionov’s works, May-June 1956. This copy inscribed by Larionov in blue ink on title page: “A Madame Anthea Alley, mes hommages, M. Larionov 21-8-56, Paris”. Anthea Alley was the wife of Ronald Alley, the renowned British art historian and keeper of the modern art collection at the Tate Gallery London.

Cologne.: Salon Verlag., 2008. Box (30.4 x 22 cm).. pp. (42). Rachel Whiteread was invited, for this edition, to select a book of special importance to her, for which she then designs a new dust-jacket, and presents it under her own name as a 'Reprint'. In this case the artist has chosen 'Mike and the Modelmakers' by M. Sasek, originally published in 1970. The London studio of Whiteread lay opposite the company Lesney, who during the 1970's was the toy manufacturer of the Matchbox car. Whiteread's dust-jacket is a photographic illustration of the Lesney factory. The book is still in its original shrinkwrap. Issued loose with the book is Whiteread's ex-libris bookplate (flat-packed colour printed cardboard box for the matchbox cement-mixer), designed to be detached and pasted into the book. This is one of 40 deluxe copies, with a solid lead cast of the cement-mixer, stamp-numbered and initialled on its base. This model is wrapped in a small protective woolen blanket which has a stitched label… Read More

Steinberg bei Frankfurt.: Mikron., 1964-65.. Original printed wrappers.. (24 x 8 cm).. pp. (12; 8). The two issues of Mikron provided information about the activities of small experimental publishers, books, magazines, and prints from the literary and visual avant-garde that owed their existence to non-commercial initiatives. “Mikron signals the breaking edges of literature, the graphic experiment, the poetic game. Mikron announces the small magazine as well as the attempts at new book art”. Includes information on the publications by Typos Verlag in Frankfurt, Eugen Gomringer Press, Limes Verlag, Wolfgang Fietkau, Gulliver-Presse and others. a useful bibliographical tool. [WorldCat only lists a set at Oxford University].

New York.: Pierre Matisse Gallery., 1967. Original colour pictorial wrappers, printed dust-jacket with die-cut window.. (31.6 x 24.8 cm).. pp. (40). Illustrated with 7 original colour silkscreens, lithographs, and pochoirs, printed by Daniel Jacomet; 25 other b/w images. Published on the occasion of Miro’s exhibition at the Pierre Matisse Gallery, November 1967. Regular edition limited to 1200 numbered copies. Complete with the tipped-in die-cut silkscreen in the form of the artist's palette, two illustrated panels printed on sandpaper, and three colour lithographs (including one folded triptych).

Antwerp.: Zeno X Gallery., 1988. Original black cloth, complete with red silk sash obi with gilt-stamped titles. Clear plastic jacket and black cloth-covered slipcase. Fraying to edges of slipcase, otherwise very good.. (34 x 34 cm).. Tipped-in title page & 10 original colour photographs, each mounted individually on sheets of black card. Many of the Transformation-Installations of the Belgian artist Guillaume Bijl place the visitor within a consumer or service-oriented scenario, in which the usual choreography is nowhere to be seen. Bijl’s ‘Art Liquidation Project’ began in 1979 when he wrote a fictional pamphlet stating that the government had deemed art irrelevant for society and therefore spaces devoted to the arts would now be turned into places more blatantly beneficial to society. The first in this series of projects was Driving School Z, set up in Ruimte Z Gallery in Antwerp, Belgium. This driving school set-up was so meticulously staged that passers-by would enter and ask about… Read More

New Paltz, NY.: Documentext., 1979. Publisher’s cloth, with dust-jacket. Minor edge tears to jacket, otherwise a good copy.. (22.5 x 27 cm).. pp. 281, (7). Black-and-white illustrations throughout. Includes well-illustrated accounts of 38 complex performances by Schneemann, including ""Chromelodeon,"" ""Meat joy,"" ""Water light / water needle,"" ""Snows,"" ""Illinois Central,"" and ""Interior scroll""; plus an appendix containing unperformed works. Also includes a performance chronology, filmography, bibliography, and index to photographers. This copy with a fine contemporary inscription by Schneemann, written in blue pencil on front flyleaf: “for Richard [Bernas] - with thanks for home base + shared iconographies !, much love, Carolee. London, 86 Ladbroke Grove, June 79”.

Paris.: Galerie Denise René., 1964. Fold-out poster catalogue, composed of 12 connected circular sheets.. Folded (23 x 23 cm).. With 51 black-and-white illustrations printed on both sides of the twelve connected rounded octagonal sheets. Catalogue-object designed by Carlos Cruz-Diez. Published to accompany the exhibition devoted to kinetic art held at the Galerie Denise René, Paris, December 1964 - February 1965. Includes works by Joseph Albers, Anusziewicz, Alexander Calder, Toni Costa, Charles Gerstner, Lily Greenham, Harry Kramer, Edwin Mieczkowski, Giora Novak, Luis Tomasello, Victor Vasarely, Yvaral, etc. Text by Jean Cassou.

Stierstadt-Taunus.: Verlag Eremiten-Presse., 1960. With 20 equal-sized coloured cards, each with varied cut-out sections. Loose as issued in publisher’s glossy printed wrappers.. (22.3 x 13.4 cm).. “Der Multiplikator, eine Komposition, die sich bewegen und verändern lässt, und sich durch die Möglichkeit der Wiedererschaffung und der Vervielfältigung auszeichnet. Der kinetische Multiplikator ist eine aus 4 unabhängigen Kombinationen zusammengesetzte Komposition. Durch die Vierteilung können nach einem System 71 verschiedene Kombinationen zusammengestellt werden. 16 Kombinationen wurden für diesen Buch ausgewählt und in 20 farbige Karten gestanzt. Der Betrachter kann it den im Buch vorhandenen, auswechselbaren, farbigen Seiten durch Zusammenfügen, Nebeneinander- und übereinanderlegen, Verdrehen, Aufbauen, Beleuchten usw. nach eigenem Mass unendliche Variationen der entworfenen Komposition entstehen lassen”. (Translated:) “Der Multiplikator, a composition that can be moved and… Read More