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

Cologne.: Verlag M. DuMont Schauberg., 1971. Publisher’s wrappers.. 29.8 x 21 cm.. Over 600 pages. Numerous black and white illustrations throughout. Large compendium of the art and literature of the 1960s, with contributions by Erich Reusch, Mauricio Kagel, Paul Pechter, Rainer Giese, Gerhard Rühm, Lawrence Weiner, Hermann Nitsch, Ed Ruscha, Markus Raetz, Sottsass, Nam June Paik, Diter Rot, Sigmar Polke, Joseph Beuys, Elfriede Jelinek, and others.

Krefeld / Düsseldorf.: Hansjürgen Bulkowski., 1966 - 1977.. 27 issues in 26 vols. (one double issue). Original stapled wrappers, gummed wrappers, and metal clip binding.. A complete set of PRO, one of the more compelling of German art periodicals of the 60’s and 70’s, with a wide range of contributions by avant-garde writers and artists of the period. The magazine was founded, edited and compiled by the Krefeld-based writer Hansjürgen Bulkowski, who was also a co-founder of the so-called “LIDL Room” in Düsseldorf (together with Chris Reinecke, Jörg Immendorff and Wolfgang Feelisch). Bulkowski had close ties with Leftist movements worldwide, and acted as their German language spokesman and translator. As such, the early issues of PRO are each centred around one topic which Bulkowski was sympathetic towards: issue no.5 - Anarchie und Humor (Provo); no. 6 - the Beats; no. 8 - Tulli Kupferberg & the Hippies. Whilst the early numbers are small in format, the middle issue (nos. 13 -30) are… Read More

Villeurbanne.: Le Nouveau Musée., 1983. Original printed wrappers, stapled. Surface rubbing, with mild creasing to spine.. (29.7 x 21.1 cm).. pp. 38. Early Richard Prince publication that includes fifteen illustrations of photographic works, dating 1977-1982, accompanied by short texts in English and French. Published on the occasion of the exhibition held at the Nouveau Musee, France. 21 January - 6 March. 1983. Essay by Kate Linker. Edition of 1000 copies.

n.p., c.1974.. (25 x 20.5 cm).. Unpublished close-up portrait, showing an early enigmatic appearance of ‘The Perfect Smile’ of James Lee Byars. In the photograph Byars is dressed in a white shirt with a black silk scarf wrapped around his head, which obscures his eyes and most of his face, except for parts of his mouth and nose. The performance consists of a very subtle movement of the mouth to indicate the briefest smile possible. The work was eventually ‘bequeathed’ by Byars to the Museum Ludwig in Cologne in 1994, with the request that it be exhibited like any other work in its collection. It stands as the first such conceptual museum acquisition. This photograph seems to relate in date with the Byars performance “The Perfect Love Letter”, which took place at the Palais des Beaux-Arts, Brussels in 1974.

Vienna.: Self-published., (1969).. Original printed wrappers.. 22.2 x 16.5 cm.. Unpaginated, c.150 pages. Published on the occasion of Staudacher’s exhibition at the Galerie Stubenbastei, Vienna, this artist book is limited to 200 copies, signed and numbered by the artist. Each copy of the book is unique, composed of found magazine pages, advertismemts, many of which are then lithographed or screenprinted over by Staudacher. Complete with three original lithographs. Since the early postwar years, Hans Staudacher (b. 1923) has been regarded as a leading Austrian exponent of Gestural painting. In 1956 he represented Austria with eight paintings at the 28th Venice Biennale. [No copies on Worldcat, one copy at the National Library of Austria].

c.1960.. Printed on irregular-cut sheet.. (18 x 21 cm).. Mon writes and uses collages and various typographies to compose and build word constructions. For him, the surface on which a written word appears is not just a background but also always part of the composition. This poem is typical of his work of the early 1960s in which the words are broken up by the fragmentation of the background.

New York.: Howard Wise Gallery., 1965. Original printed wrappers, stapled.. (26.5 x 19.5 cm).. pp. (21). Black-and-white illustrations throughout. Exhibition catalogue, Howard Wise Gallery, New York, November 1965. This copy inscribed by Otto Piene in pen on the inside front cover of the catalogue (inscription dated 19 March 1970).

London.: McRoberts and Tunnard Gallery., 1962. Original wrappers, stapled.. (17.8 x 24 cm).. pp. (4). Single black-and-white illustration. Catalogue for Piene’s first solo show in the UK, October-November 1962. With a list of exhibitions and a short text by Piene. This copy with the printed invite for the show’s private view on the 23 October. The invite card is inscribed in pen by Piene.

Düsseldorf.: Galerie Schmela., 1963. Original wrappers with embossed eye motif on front cover.. (15.5 x 14.1 cm).. pp. (18). With 6 colour and black-and-white illustrations. Exhibition catalogue. This copy includes, inserted loose, the original invite to the exhibition’s opening night, 13th September 1963. The invite is printed black on red card.

(Paris).: (Julien Blaine)., (1970).. Single sheet, folded twice.. (42 x 28 cm).. The Bi-Point “:” poetry movement created by Julien Blaine was an international proposal to creatives wordwide to abandon all production/publishing activities (books, objects, performance, music, films, publications) and dedicate their time and creativity only and exclusively to transformation. This would be achieved by creating anomalies in urban and rural areas, transforming the surroundings, modifying the places of work, rest, spare time, and boycotting the powerful’s means of pressure and communication. “The Night and Day Awakeners … will publish under the name of their choice (mentioning the sign “:” - BiPoint Poetry) weeklies, monthlies, periodicals whose aim will be to incite readers to use their own creativity for the awakening of the others”. Blaine’s manifesto is printed in French on a single sheet, with a section reserved at the bottom, designed to be cut away and returned with the… Read More

Paris.: n.p., 1963. Original printed wrappers, stapled.. (20 x 20 cm).. pp. (28). Catalogue for one of the earliest Fluxus events, organised by Radio Télévision Française under the direction of Jean Tardieu, and the ""Domaine Poétique"" competition represented by Jean-Clarence Lambert and Jean-Loup Philippe. The event, a biennial for young artists in Paris, was held at the Musée d’art moderne de la ville de Paris, on the evening of the 9th October 1963. Included the participations of George Brecht, Terry Brown, Al Hansen, Dick Higgins, Pat Keene, Alison Knowles, George Maciunas, Jackson Mac Low, Simone Morris, Benjamin Patterson, Terry Riley, Robert Watts, Emmett Williams, and La Monte Young. Alison Knowles’s Shuffling Piece (for audience) and Simone Forti’s Instructions pour une danse were just two of seven compositions performed simultaneously at the event. In the list of participants in the back of the program, les spectateurs (the spectators) were included along with the roster of… Read More

Zürich.: Bruno Bischofberger / City-Galerie., 1965. Original wrappers, stapled. Slight creasing to upper edge, otherwise very good.. (24.1 x 21.1 cm).. pp. (12). Bruno Bischofberger opened the City-Galerie on Pelikanstrasse in Zürich in 1963, and the first important exhibition at the gallery was this landmark show of American Pop Art, taking place from 15 June to 10 July 1965. The exhibition included works by Warhol, Lichtenstein, Oldenburg, Rauschenberg, Wesselmann, Dine, Chamberlain and Rosenquist. The catalogue begins with an essay from art critic Otto Hahn (""Was ist Pop Art?""), followed by biography and exhibition histories of the artists, and concluding with a brief catalogue of 26 works.

Paris.: Editions du Soleil Noir., 1968. Original printed wrappers, mild creasing to spine; original black cloth slipcase with inset clear plastic window.. (19.2 x 14.3 cm).. pp. 137, (5). Published in an edition of 2730 copies, with this one of 150 copies with an original work by Lucio Fontana, on oval of pink flexible plastic rhodoid with perforated holes in a central vertical line. The work is numbered and scratch-signed by Fontana with his initials.

Milan.: Flash Art Edizioni., 1973. Original glossy white wrappers. A fine copy.. (23.5 x 16.6 cm).. pp. (50). With 21 plates of schematic drawings. This copy contemporaneously inscribed by Bochner on the front flyleaf, “for Ira, Best Regards, Mel Bochner 1973”. This book of directions and diagrams for a complete sculptural installation of stones, chalk and hazelnuts “on the floor” begins with a quotation from Brian Ellis’ “Concepts of Measurement” (1968): “It is not difficult to understand what is meant by saying a physical object more or less closely resembles a Euclidean circle, but what could be meant by saying a group fo stones resembles the number 10?”. [Ref. Lailach - Printed Matter. Die Sammlung Marzona, p. 96].

Vienna., 1960. Single sheet printed recto only.. (28 x 20.5 cm).. Invitation flyer to Hermann Nitsch's first exhibition, which opened on November 3, 1960 in the rooms of the Loyalty Club in Vienna. Inspired by Tachism and Abstract Expressionism, Nitsch had begun to take up painting seriously in 1960, integrating it as an additional element into the overall concept of his Orgienmysterien Theater. Nitsch was to exhibit for the very first time in this joint show with his friend Fritz Kindl, at the Loyalty Club in Vienna. Nitsch exhibited several wax images alongside a group of seven drip paintings in differing formats entitled Kleiner Existenzaltar. The invite to the exhibition, the only document to exist from the show, is printed with a text by Nitsch, ""die existenzsacrale malerei angestrebt ist die konsequente sacralisierung der kunst”, and a short poem by Kindl, ""ichhabeeinpaar gedichtegemacht siesindvonmir ichhabe vielzeitundmühe aufgebracht…”.

Washington DC.: Smithsonian Institution Press., 1977. Original wrappers, mild staining.. (29.5 x 24 cm).. pp. 111. With 68 illustrations, 2 in colour. Introduction and text by John Beardsley. Exhibition catalogue, the Hirshhorn Museum and Sculpture Garden, Washington, D.C, then the La Jolla Museum of Contemporary Art and the Seattle art Museum, 1977-78. Catalogue of 29 exhibits, including groups of drawings, models and documents relating to earthworks and environmental projects, with notes and commentaries on the projects and biographical notes on the sculptors (Harvey Fite, Richard Fleischner, Michael Heizer, Nancy Holt, Richard Long, Robert Morris, James Pierce, Charles Ross, Charles Simonds and Robert Smithson). Foreword by Abram Lerner.

Paris.: J.-J. Lebel., 1964. Poster printed in black on green stock.. (59.5 x 40.5 cm).. Unpublished poster for the Festival de Libre Expression (Festival for Free Expression), the first of such festivals organised by Jean-Jacques Lebel between 1964 and 1967. Lebel quickly became infamous for his festivals of erotic happenings advocating free sexuality as a means to liberate experience - a philosophical position he had learned, in part, from Dada and surrealist mentors and friends like Breton and Picabia. Lebel’s festivals epitomised the alternative perspective that characterised the 1960s, and they were a key source of that decade’s radical identity. They acted as an international forum for artists, poets, musicians, and filmmakers, combining the art of Carolee Schneemann, Ben Vautier, Bazon Brock, Tetsumi Kudo and George Brecht, with jazz musicians such as Johnny Griffin and Art Taylor. The first of these festivals ran from the 25th to the 30 May 1964. This is the original printed maquette for… Read More

Ghent.: Imschoot, uitgevers for IC., 1988. Publisher’s cloth, with dust-jacket.. (21.8 x 15.4 cm).. pp. (88). Artist’s book, with this one of 25 deluxe hardback copies, signed and numbered by Downsbrough in pen on the final leaf. (Ref. Peter Downsbrough : Books / Bücher"" by Peter Downsbrough, Guy Schraenen. Neues Museum Weserberg, 1993, no.28; Moritz Küng - Peter Downsbrough : The Books, no. 30).