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

n.p.: Self-published., 1977. Three-part folded card, printed both sides, black on cream glossy stock. Covers with patchy stains, and corners slightly bumped.. (35.5 x 17.7 cm).. Small vignette illustrations printed throughout the text, illustrating some of the strange dishes. A satirical menu comprised of playful references to art historical figures and terms, listing items such as the Francis Bacon and Eggs, Agnes Martini, Jackson Pollox, Diebenkorn Flakes, Ham on Ryman, Hieronymus Borscht, Filet of Sol LeWitt, Bruce Naumannicotti, or Rice Marden Pudding.

Cologne.: Verlag der Buchhandlung Walther König., 1983. Publisher’s cloth with dust-jacket.. (29 x 22 cm).. pp. 103. Printed in an edition of 1000 copies. The painter Werner Büttner has, since the 1980s, been one of the so-called 'new' or 'young savages' together with Albert Oehlen and Martin Kippenberger, who propagated a 'Rückkehr der Malerei’ or a ’return of painting'. Under the title ‘Schrecken der Demokratie' (Terror of Democracy), Büttner presents here a collection of provocative, thoughtful drawings and short texts. [Ref. Sabine Röder ed. - Sand in der Vaseline. Künstlerbücher II. 1980-2002, p. 34, no. 1.4].

(Self-printed)., 1981. (61 x 61 cm) unfolded.. Original photostat of Robert Morris’s rather startling and unrealised ‘Nuclear’ memorial project. The large sheet (folded) reproduces Morris’s ink drawings of the installation proposal, illustrating elevations of the two sculptures, as well as plans of the site and installation. This is accompanied by photocopies of the Morris’s Documentary Statement concerning the project and his commission, with notes on its implementation, together with a cover letter, dated September 9, 1981, addressed to the project’s architectural team. In 1981 Robert Morris received a small commission from the US Navy Department for a sculpture to be installed outside a new administration building on the grounds of the fourth largest veteran’s medical centre in the US, located in Bay Pines, Florida. Morris began to research the kinds of things decorating veteran’s hospitals and found that all kinds of obsolete weapons were put on the grounds - howitzers, tanks,… Read More

Stuttgart / London.: Edition Hansjörg Mayer., 1979. Box illustrated with photo sequences of the concert by Peter Frese.. (32 x 32 cm).. Four album boxed set. Whilst each record has plain white labels, each boxed set comes with approximately 40-50 additional loose labels designed by Dieter Roth. Edition of 500 copies. “Selten Gehörte Musik (rarely heard music) developed from our ‘artists' workshops’ in which an intimate circle of friends met together at loose intervals to talk, eat, drink and collaborate on artistic projects. the aim of the workshops was to create a fruitful intensity over a period of several days (and nights) which, without being restricted to any one field of the arts, fostered creative production of a totally pleasure-oriented kind … concerts were staged at somewhat lengthier intervals with a constantly changing cast. The most extravagant presentation of Selten Gehörte Musik in terms of duration and number of participants was the Abschöpfsymphonie, at which Attersee,… Read More

Cologne.: Galerie Rudolf Zwirner., 1970-1978.. (10.5 x 14.8 cm; 20 x 14.8 cm).. Neue Arbeiten von Richard Tuttle - (4 June 1970) Richard Tuttle. Drahtstücke 1971-1972 - (15 June - 30 July 1972) Kounellis. Boulevard de la solitude? - (9 Nov 1975) Markus Lüpertz. Bilder Aquarelle Zeichnungen - (14 May 1976) Giuseppe Penone - (9 March 1978)

1960. Sheet (30 x 21 cm).. Includes such lucid statements as “Wer bewegt ist - bewegt nichts” (Who is moved - does not move). The sheet is stamp-numbered and signed in pen by Laszlo. Carl Laszlo (1923- 2013) was a Hungarian-Swiss art dealer, collector and author, renowned for his Panderma Verlag publishing house.

Cologne / New York.: König Brothers., 1972. Each copy has a unique marbled cover of grey/brown and ochre stained cloth, with black blocked title. Very minor browning to spine, with tiny loss to block titles.. (19.5 x 13.3 cm).. pp. (170). Artist’s book, published in an edition of 600 copies, numbered on the inside rear cover and signed by the artists on the “to the reader” page. The book has the text on printed on the left-hand pages, and photographic images on the right-hand. The text is divided into three chapters, ""With Us in the Nature"", ""A Glimpse into the Abstract World"" and ""The Reality in Our Living”. [Ref. Anne Moeglin-Delcroix - Esthétique du Livre d'Artiste 1960 / 1980, p. 283; Germano Celant - Book as Artwork 1960 / 1972, p. 95].

Belgrade.: Self-published (Miroljub Todorovi_)., 1970. Original wrappers, stapled.. (20 x 14 cm).. pp. (20). With 13 black-and-white illustrations + one fold-out plate. Text in Serbian. The beginning of Signalism dates back to 1959 when its founder and main theoretician Miroljub Todorovi_ started with his linguistic experiments. Todorovi_’s goal was to radically change Serbian poetry both through content and form, revolutionising the poetic language with the introduction of symbols, formulas and linguistic forms of the sciences (computers, physics, biology, chemistry, mathematics, biochemistry and astronomy). The language was made visual by dispersing words and sentences into syllables and letters forming visually recognisable patterns, as well as by introducing non-verbal symbols into the text.

(Paris)., 1976. Two sheets, typed rectos only, folded twice in airmail envelope.. (11 x 16 cm) envelope.. Letter sent by Gina Pane to Ira Licht, then curator at the Museum of Contemporary Art, Chicago. Pane had been one of the participants at Licht’s groundbreaking Bodyworks exhibition the previous year, and her letter was seemingly composed in response to Licht’s printed introduction in the show’s catalogue. In the letter she admonishes Licht for omitting her name in his text: “A la lecture de votre texte d'introduction ou j'ai pu remarquer avec beaucoup de peine l'absence de mon nom”. Realising this may be because Licht was not fully aware of her early work, Pane goes on to list some of her important performances. She later goes on to specifically state that many of her body performances even pre-date those of Chris Burden: “Comme vous pouvez le constater, je suis une des premières à m'être attaquée à mon corps; en effet, six mois avant Chris Burden en ce qui concerne la blessure… Read More

London.: R.B.A Galleries., 1960. Original wrappers, stapled.. (17.7 x 17.7 cm).. pp. 20. Black-and-white illustrations. ‘Situation’ was a landmark exhibition staged in September 1960 at the Galleries of the Royal Society of British Artists, London, by a group of predominantly young British painters who were united by their admiration for American Abstract Expressionism. Paintings included had to be totally abstract and at least 30 square feet in size; the name of the exhibition came from the participants’ idea that an abstract painting that occupied the whole field of vision would involve the spectator in an ‘event’ or situation. Robyn Denny was the organising secretary and other artists represented included Gillian Ayres, Bernard and Harold Cohen, John Hoyland, Bob Law, Richard Smith, and William Turnbull. These artists felt frustrated by the lack of exposure given to large-scale abstract works by commercial galleries, and in organising the exhibition themselves they aimed to bypass the… Read More

Santa Monica, CA.: The Foundation for Art Resources, Inc., 1977. Single sheet printed one side only, folded twice for mailing.. Sheet size (41.5 x 28.5 cm).. The Foundation for Art Resources in Santa Monica was founded by the innovative gallerists Morgan Thomas, Connie Lewallen, and Claire Copley, for the production and presentation of contemporary art projects outside of the gallery structure. Their earliest project was a film by John Baldessari, Six Colorful Inside Jobs. This original announcement flyer for the performance describes the project: “You can observe a worker painting a room the six consecutive colors of the color wheel, one color each evening. A ceiling-mounted movie camera will recrod this procedure. The resulting film, a time-lapse, condensed version of that process, will be screened together with another new film by Baldessari, SCRIPT, on October 29, 4:00 pm.” This announcement states that the videoed performance would take place from October 10 through October 15, 1977, at… Read More

Boston.: Harcus Krakow Gallery., 1972. Offset-printed poster, machine folded three times for mailing. Overall creasing to poster, with weakness and browning to central folds.. (83.5 x 58.5 cm) unfolded.. Large poster printed on the occasion of the exhibition of LeWitt’s prints at the Harcus Krakow Gallery, Boston, February - March 1972.

Amsterdam.: Art & Project., 1972. Four-page printed bulletin, folded twice for mailing.. (29.5 x 21 cm).. pp. (4). “One way of making a complete finite series is to use a cross-reference grid. On these pages are lines with lines and arcs with arcs”. (Sol LeWitt. New York, The Museum of Modern Art, 1978). [Ref. Giorgio Maffei & Emanuele de Donno - Sol LeWitt Artist’s Books, pp. 36-37].

Amsterdam.: Art & Project., 1971. Four-page printed bulletin, folded twice for mailing.. (29.5 x 21 cm).. pp. (4). “In the Orient the number ten thousand traditionally implies a large number. These drawings are part of a group. The size of the wall or the page on which a drawing is made determines the density of the lines” (Sol LeWitt. New York, The Museum of Modern Art, 1978). [Ref. Giorgio Maffei & Emanuele de Donno - Sol LeWitt Artist’s Books, pp. 34-35].

Paris.: Pierre Belfond., 1970. Loose as issued in original wrappers. Original cloth dropback box, with artist’s name in gilt on spine. Dampstaining to box, not affecting the book.. (40.5 x 30.8 cm).. pp. 46. With two signed etchings by Hans Bellmer. Published in an edition of 150 copies + 20 hors commerce. With an original numbered and signed frontispiece etching by Hans Bellmer. Each copy of the book has an additional suite of the etching, printed on Japon nacré, which is also numbered and signed by Bellmer.

Aachen.: Neue Galerie Sammlung Ludwig., 1983. Publisher’s yellow wrappers, stapled.. (29.8 x 21.1 cm).. pp. 20. With 24 (2 colour) illustrations. Catalogue published to accompany a group exhibition by Kippenberger (“gemalte Bilder”) and his friend, the photographer and collector Wilhelm Schürmann (“photographierte Bilder”), held at the Neue Galerie Sammlung Ludwig in Aachen, June - July 1983. The catalogue contains a foreword as well as a text co-authored by Werner Büttner and Albert Oehlen. This copy inscibed by Kippenberger on the front cover (possibly to Berthold Schepers, a fellow Neue Wilde artist). [Ref. Uwe Koch - Annotated catalogue raisonné of the books by Martin Kippenberger 1977-1997, no. 17].

(1960).. Two sheets taped together.. (26 x 16.7 cm).. Photostat of Hausmann’s landmark Dada sound poem of 1919. His poems existed in visual forms (“poster poems”, drawing poems”), which were recited and performed in what resembled a theatrical performance at Dadaist evenings.

London.: Gallery One., 1957. Original pink wrappers, stapled. Small stains to front cover, otherwise good.. (23 x 15.2 cm).. pp. (20). Photographic frontispiece photo of the artist & 12 black and-white illustrations of paintings. Despite now being seen as the master of Indian Modernist painting, for his first six years in Europe after emigrating to London in 1949, Souza’s first wife Maria was the sole breadwinner for the family, while Souza struggled to support himself financially with his art through the occasional exhibition and commission, and through his journalism. By 1955 however, the tide turned. It was the year of Souza’s first solo exhibition at Victor Musgrave’s Gallery One, which together with New Vision Centre, Signals and Indica, played an important role in defining London as a centre for radical artistic expression. Souza’s show was a triumph - he won patrons as well as acclaim from key art critics of the time, including Edwin Mullins and David Sylvester, who likened the… Read More

New York.: The Louis Kellner Foundation / Seth Siegelaub., 1968. Publisher's wrappers. Very minor rubbing to spine edge, otherwise a fine copy.. (17.8 x 10.1 cm).. pp. (64). Limited to 1,000 copies. Weiner's first artist book. Contains twelve 'general' and twelve 'specific' examples of the pioneering conceptual practitioners text-based statements. [Ref. Dieter Schwarz. Lawrence Weiner Books 1968-1989. Catalogue raisonné, p.11; Printed Matter. Die Sammlung Marzona in der Kunstbibliothek. The Marzona Collection at the Kunstbibliothek, p.167; Lippard - Six Years: The dematerialization of the art object, p.37].

Bonn.: Erhard Klein., 1990. Original green wrappers, stapled. Titles printed in black.. (21 x 14.7 cm).. pp. (56). A facsimile of a 1970 Sigmar Polke notebook, published on the occasion of an exhibition of Polke in the gallery of Erhard Klein in Bonn, 1990. Facsimile signatures on the first page, originally presenting the sketchbook to Blinky Palermo, and on the final page to the editor Erhard Klein. This one of the 100 copies, numbered and signed by Polke in pen on the front cover. [Ref. Becker & von der Osten - Sigmar Polke. The Editioned Works 1963-2000, no. 87].