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

Paris.: Musée d'Art Moderne de la Ville de Paris., 1992. Original cloth-backed boards.. (19 x 13 cm).. pp. (106). Exhibition catalogue, Musée d'Art Moderne de la Ville de Paris, October 1992 - January 1993. The texts in German, English, French and Italian are set on different coloured paper, and the Italian text is in cursive form with flying coloured letters printed in the margins.

Ostfildern-Ruit.: Hatje Cantz Verlag., 2001. Original wrappers.. (23 x 20.5 cm).. pp. 167. Numerous colour and black-and-white illustrations throughout. Catalogue for Whiteread’s exhibition at the Deutsche Guggenheim Berlin, October 2001 - January 2002. This copy with a signed inscription from Whiteread to Karin Pott on the title page: “26.10.01 for Karin, with best wishes R. Whiteread”.

Munich / Bonn / Vienna / Klagenfurt.: Various publishers., 1967 - 1979.. Original wrappers.. Various sizes.. pp. 24; 46; 4; 16. Black-and-white illustrations throughout. A set of four catalogues on the work of Raimer Jochims (b. 1935), a Frankfurt-based colour-field artist whose shaped canvases, inspired by the spiritual works of early advanced cultures, developed into autonomous forms in the 1970s, often imagined as bubble-like structures on shaped chipboard: Reimer Jochims chromatische Malerei. Texte von Umbro Apollonio, Kurd Alsleben, Konrad Fiedler. Limited to 500 numbered copies. (Munich. Edition UND. 1967.); Raimer Jochims. Arbeiten 1961-1975. Exhibition catalogue Kunstmuseum Bonn, 1975; Raimer Jochims. Exhibition catalogue, Modern Art Galerie, Vienna & Galerie H, Graz, 1977-78; Raimer Jochims. Bilder, papierarbeiten, Malbücher. Exhibition catalogue, Galerie Carinthia, Klagenfurt, 1979.

Düsseldorf.: Galerie 22., 1960. Single sheet offset-printed in grey single side. Folded twice as issued.. (21 x 42 cm), unfolded.. Announcement flyer published in conjunction with dual Rauschenberg / Twombly show held April 22 - May 31, 1960. It was the first exhibition by both artists in Germany. The exhibition was hosted in collaboration with Leo Castelli in New York and La Tartaruga in Rome. Galerie 22 in Düsseldorf existed only from 1957 to 1960 and was directed by Jean-Pierre Wilhelm, who provides a short text on Twombly for the invite (Manfred de la Motte provides the text on Rauschenberg).

Amsterdam.: Real Free Press., 1968-1974.. Seven issues. Each issue in large tabloid newspaper format.. (43 x 31 cm).. pp. 20-24 each issue. Printed in black-and-white throughout. Real Free Press was an alternative comics store and press in Amsterdam in the 1970s, run by former Provo-member Olaf Stoop (1945-1999). Between 1968 amd 1974 the press published six issues of its Real Free Press Illustraties which contained - in Dutch translations by Martin Beumer - works by well-known American underground artists such as Robert Crumb, S. Clay Wilson and Will Eisner and launched the Dutch artists Peter Pontiac, Bernard ‘Willem’ Holtrop and Joost Swarte. Dutch translations of early 20th-century comics such as Krazy Kat and Little Nemo in Slumberland, advertisements, anarchist texts, reviews and interviews also found their way into the six Real Free Press Illustratie. Real Free Press, with its roots in the Dutch Provos and anarchism, was a product of the Amsterdam counterculture of the 1960s and 1970s. The… Read More

Paris.: (Self-published)., 1970. Original wrappers, stapled. Some rusting of staples, otherwise good.. (21 x 13.5 cm).. pp. 12. With 7 black-and-white offset photos. Artist’s book, published in an edition of 500 unnumbered copies. Illustrated with photos taken by Sarkis, November 8, 1970, showing Boltanski recreating scenes from his childhood. We see him sliding down the stairs on a mattress, throwing a pillow, or returning from school with his schoolbag. [Ref: J. Flay - C. Boltanski, Catalogue of the books, Printed Matter, Ephemera, no. 17, pp. 42-45; Bob Calle - Christian Boltanski, Livres d'artiste 1969-2007, p. 17].

Würzburg.: Relief-Verlag., 1961 - 64.. 15 issues. Original printed wrappers, stapled.. (20.7 x 14.7 cm) each issue.. c. 30 pages per issue. Monochrome illustrations throughout. Rare complete set of Relief, the literary and art magazine of the early 1960s. A total of fourteen issues were published, as well as a special number (Sondernummer) dedicated to Albert von Schirnding and Alfred Darda. Contributors include Uwe Krämer, Karl Heinz Roth, Gunther Czerny, Armin Meyer, Winfried Tonner, Kurt Sigel, Hans Gerhard Evers, Karl Seemann, and Ewald Mataré. (Worldcat lists holings at the Getty, NYPL, Indiana University & Harvard).

New York.: Experiments in Art and Technology (E.A.T.), 1973. Color lithograph and screenprint on a heavy paper sleeve containing one 7-inch vinyl recording disc with colour xerographed labels.. (18 x 18 cm).. Originally issued in the portfolio ‘The New York Collection for Stockholm’, George Segal's 33 RPM vinyl record and sleeve documents the artist's personal memories of Marcel Duchamp, who died in 1968. Segal's admiration for Duchamp was returned by the older artist, who observed that ""With Segal, it's not a matter of the found object, it's the chosen object” (quote printed on sleeve). Limited to 300 copies, numbered and signed in pen by Segal on the rear of the record sleeve. This one of 25 artist proof copies.

New York.: Ronald Feldman Fine Arts., 1979. Single sheet photocopy, printed in black. Stamped “Organisation für direkte Demokratie” in red, and “Free International University” in blue (second blue stamp visible but faded). Small central section of bleaching to sheet, otherwise good. Framed.. (28 x 21.5 cm).. Published in an edition of 40 copies, numbered and signed by Beuys in pencil. A photocopy of the results of a test undertaken for asbestos content in samples of material from the Beuys environment “aus Berlin: Neues vom Kojoten”, held at the Feldman Gallery, New York, 1979. [Ref. Jörg Schellmann - Joseph Beuys. The Multiples, no. 314].

New York.: Castelli Warehouse., 1969. Offset-printed poster folded twice as issued. Short tears to outer fold.. (43 x 57 cm), unfolded.. Single-sided poster issued in conjunction with Serra’s first solo exhibition in the United States, held at the Castelli Warehouse, December 16, 1969 - January 10, 1970. Image captioned ""Stacked 1969 32 x 30 x 25 ft. Kaiser Steel Plant Fontana, California”. Serra made a series of large interior steel plates for the exhibition. These so-called Skullcracker series of stacked steel slabs were manufactured on the grounds of Kaiser Steel in California.

New York.: Leo Castelli Gallery., 1981. Poster, machine folded three times.. (46.5 x 65 cm), unfolded.. Offset-printed single-sided poster, published in conjunction with a show held February 28 - April 4, 1981. Image is of a blue-print drawing representing plans for the future Castelli Gallery at 142 Greene Street in SoHo.

Newlyn, Cornwall.: Newlyn Orion Galleries., 1978. Original white wrappers, stapled.. (20.5 x 30 cm).. pp. (16). With 6 black-and-white photograhic reproductions. Artist’s book published on the occasion of the exhibition “Peter Joseph, Richard Long, David Tremlett” in Newlyn, Cornwall. Printed in an edition fo 1500 copies.

Los Angeles.: Mizuno Gallery., 1975. Postcard, mailed.. (9 x 11.4 cm).. Announcement card for Robert Irwin’s site-conditioned installation, “Scrim veil”, installed at the Mizuno Gallery, Los Angeles, Oct 21 - Nov 15, 1975. The scrim, or large sheet of gauze cloth, was stretched tightly from the ceiling. Held taught by a black metal bar, the scrim ended somewhere below the participants’ eye level. A mirror image of that black band appeared on the floor beneath it, extending up the walls to the edge of the scrim and thus forming a transparent rectangle. The space above the black bar would come in to shape perceptually as a solid, then suddenly slip out of focus, causing the void below to become the true reality. The piece changed continuously throughout the day as the light, at first pale and yellow, became cooler and then slowly turned soft mauve as the light disappeared. The recto of the announcement card for the exhibition is simply printed with two horizontal parallel black lines.

Ithaca, NY.: Herbert F. Johnson Museum of Art, Cornell University., 1982. Original wrappers.. (27.5 x 21 cm).. pp. 111. Monochrome illustrations throughout. Catalogue published on the occasion of the 40th Venice Biennale.

New York.: The New York Cultural Center., 1974. Original wrappers.. (28 x 21.6 cm).. pp. 95. Illustrated throughout in monochrome reproductions of the drawings. Exhibition catalogue, April 19 - June 16, 1974 - the New York Cultural Center. Text by Susan Ginsberg and Joseph Masheck, preface by Mario Amaya.

London.: Tate Gallery., 1980. Original white wrappers, stapled.. (21 x 29.5 cm).. pp. (12). Black-and-white photographic illustrations. Artist’s book produced on occasion of the St Ives Festival, Cornwall, 1980. “Four temporary works situated in West Penwith, Cornwall England”. Includes Roger Ackling's 'Jean Charles’, Hamish Fulton's 'Seven Hills’, Richard Long 'Erratic', and Michael O'Donnell 'Turf Pillar'. Text by David Brown. Printed in an edition of 750 copies.

Cologne / New York.: Verlag Gebr. König / Seth Siegelaub., 1970. Original printed wrappers. Near fine.. (18.4 x 12.1 cm).. pp. (30). Text and black-and-white offset illustrations. Artist book recounting the conceptual project of a sculpture by Jan Dibbets in the Vondel Park in Amsterdam. After learning about the habits of the robin bird, Dibbets intervened directly in the territory of one of them, and set out to enlarge it. The only trace of the sculpture, which consisted of this methodical enlargement of a bird’s territory, is evidenced within the artist’s book.

Los Angeles.: Self-published., 1975. Original wrappers, stapled.. (27.9 x 21.5 cm).. pp. (4). With 10 black-and-white photographic reproductions. Activity held in Portland, OR, on December 1-3, 1973, and sponsored by Portland Center for the Visual Arts. “ROUTINE was the first of three related Activities with the same title. Each of them alludes to the deadpan stylizations of vaudeville routines, and to routinized behavior in everyday life …”. [Ref. Giorgio Maffei - Allan Kaprow. A Bibliography, pp. 66-67].

Berlin.: Rainer Verlag., 1968. Publisher's wrappers. Uneven yellowing to covers and first spread due to old newspaper insert.. (24 x 15.4 cm).. pp. (28). Second edition. ”rhythmus r"", is a key work of Gerhard Rühm, a program of linguistic concretism implemented consistently through all the senses. This printed version uses the mechanical flexibility of the typewriter and communicates the associative content of the written word by the spatial arrangement of words beginning with the letter 'R'. When read, the eye wanders up and down the pages, columns of R-words are printed close to page edges, the leitmotif of ""regen rauscht"" or 'rain rushing' cascading to the page sides. The acoustic recorded version is loud - Rühm producing torrents of rain, paper tears, with listeners following the 'R' verb series ""rauscht reibt rast"" (Roar, rub, rest). With the artist book, Rühm has also attempted to produce a similar acoustic sensation with one of the pages being a sheet of abrasive pink sandpaper. The… Read More