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

Frankfurt.: Galerie Lüpke., 1971. Sheet size (70 x 50 cm).. Screenprint printed in black, silver and gray on light cardboard after a collage of a photo, a newspaper article and the artist's notes. From the edition of 100 copies (+ 10 proofs), numbered and signed by Vostell. The print refers to Vostell's T.O.T. Environment in Barton, Vermont, USA. [Ref. Wolfgang Vomm - Wolf Vostell. Die Druckgrafik, no. 1971:14, pp. 104-105].

Düsseldorf.: Konrad Fischer., 1974. Publisher’s wrappers, spine slightly browned.. (20.9 x 14.8 cm).. pp. (46). Black and white illustrations. Artist’s book influenced by the Indian tribes of South America, with whom Lothar Baumgarten temporarily lived, and much of whose early work is devoted to. T’E-NE-T’E is a ""mythologische Vorführung"" (mythological presentation), sequences of images and texts examining the significance of the eagle in the mythology of the North American Indians and in relation to art and science. Texts by Baumgarten and Michael Oppitz, a German anthropologist and ethnographic filmmaker.

Frankfurt.: Edition Klaus Lüpke., 1970. Sheet size (47 x 69 cm).. Screenprint in grey/green and black, printed on light cardboard over background photo template. From the edition of 120 copies (+ 20 proofs), numbered and signed by Vostell. The photomontage underlying the print was said to have originated during a trip Vostell undertook from Cannes to New York on the ship ""Raffaello"". [Ref. Wolfgang Vomm - Wolf Vostell. Die Druckgrafik, no. 1970:5, pp. 74-75].

Paris.: Cercle d’art., 2006. Publisher’s glossy printed boards.. (30 x 25 cm).. pp. 240. Colour illustrations throughout. Yvon Taillandier’s career is seemingly divided into two periods. The first as a writer and critic, prefacing works and monographs devoted to Miró, Cézanne, Giotto, Monet, Rodin, Corot and Bryen. And then secondly, from the beginning of 1969, Taillandier devoted himself to painting, participating in over 300 exhibitions. This book presents his career as an artist, and is embellished with TWO ORIGINAL DRAWINGS by Taillandier, both executed in pen and coloured crayons across the front endpapers and titile page.

Amsterdam.: Galerie 845., 1963. Original pink wrappers, stapled. Covers unevenly sun-bleached and water stained.. (33.1 x 21.9 cm).. pp. (40). Xeroxed sheets throughout, printed on a variety of paper stock. Several sheets loose from stapled binding. Catalogue for the joint exhibition of works by Dutch compatriots Franck Gribling and Theo Niermeijer, held at the Galerie 845 in Amsterdam, November 1963. Both artists were members of the ‘Liga nieuw beelden’, and both gained repute by experimenting with new and uncommon materials. For Gribling this meant incorporating polyester, cement and metal into his oil paintings, producing his ‘Taktielen’ or Tactiles. Throughout his artistic career Theo Niermeijer constructed iron scultpures made from material that he found in the junkyards of Amsterdam. The catalogue includes roneoprinted reproductions of Niermeijer’s drawings of his sculptures, as well as two original coal dust black relief prints by Gribling. Catalogue published in an edition of 75… Read More

Cologne.: Galerie Der Spiegel., 1964. Publisher’s wrappers, with dust-jacket. Jacket unevenly sun-bleached.. (25 x 16 cm).. pp. 36. Printed in an edition of 500 copies, with an original woodcut by Joseph Faßbender, folded and issued loose.

1962. Three mimeographed typed sheets on blue paper. Folded and taped for mailing. Stamped “Richard C. Higgins, 423 Broadway, New York 13, N.Y.”. (27.7 x 21.6 cm).. ""The tart"" is a suspension play in ""Jefferson's Birthday"" which was produced at the Sunnyside Gardens Boxing Arena in Queensboro, New York. Higgins accepted John Cage's dictum very early that a performance work did not exist until it was performed. Thus, when his ""Jefferson's Birthday/Postface"" (1964) appeared, with Something Else Press, Higgins arranged to perform three of the works in it at Sunnyside Gardens Boxing Arena in Queens, New York. These sheets print the early revised version of the text, dated June 17th, 1962. It appears to lack the first sheet and thus provides 25 of the 30 short speeches of the play.

Rome.: Eurpress editore., 1976. Plates loose as issued in original cloth-covered drop-back box. Scratches to box, damp-staining to lower edge, affecting the lower left corner of several of the plates.. Sheet size (53.8 x 35 cm).. Title page + 10 screenprints + colophon sheet. The complete portfolio of 10 screenprinted visual poems by Carlo Belloli, all executed between 1974 and 1975. Each of the works are printed in different colours on varying coloured sheets of card. Published as the 14th volume in the progressive literature series “Il Punto”. Printed in an edition of 100 copies, this copy numbered and marked as an “esemplare d’autore” on the colophon sheet.

Berlin.: Galerie Wunderland., 1978. Original wrappers, stapled.. (29.6 x 21 cm).. pp. (8). Illustrations throughout, including one in colour. Exhibition catalogue, Galerie Wunderland, August - September 1978.

_ód_.: Galerie Adres., 1972. Original black wrappers, titles printed in white to front cover.. (24.5 x 15 cm).. pp. (34) + single fold-out. Polish-born artist Ewa Partum is considered a pioneer of Eastern European feminist art produced within the conceptual idiom. Partum founded the Galeria Adres in the spring of 1972 in _ód_, where she moved from Warsaw in 1971, and initially located her gallery in a small space under the steps of the offices of the Association of Polish Artists (Zwi_zek Polskich Artystów Plastyków, or ZPAP). In her gallery, Partum emphasised the importance of art theory to her practice, with the aim of the gallery to maintain contact with leading art theoreticians such as Andrzej Kosto_owski in Poland, László Beke in Hungary, and Klaus Groh in West Germany. In 1972, using ZPAP facilities without requesting permission from the organisation, Partum self-published “Theses on Art No 1–17”, a seminal text on conceptual art by Andrezj Kosto_owski, which remains one of the… Read More

Graz.: n.p., 1967. Original wrappers, stapled.. (24 x 23 cm).. pp. (12). One colour and numerous black-and-white illustrations. As a member of the Forum Stadtpark, founded in 1959, Jorrit Tornquist was a defining figure in the cultural awakening movement in Graz in the 1960s. His artistic production deals with the relationship between colour and surface and space in painting and architecture. Participation in trigon 67 group biennal exhibition gave the artist the opportunity to implement a scientific-mathematical model that had been developed in previous years. This is based on the assumption that human feeling can be broken down into various individual parts. The artist used a grid scheme to depict it. In the exhibition he showed a grid structure consisting of different colored tubes measuring 2.5 x 2.5 x 2.5 meters. By lighting this structure over time with the colours in which it was painted, individual parts of it were intended to become “invisible”. The dimensions of space and time were made… Read More

(Paris).: Cybernetic Art, Kudo Co, Ltd., 1962. Single sheet of xeroxed typed text.. (26.8 x 21.1 cm).. Leaflet printed to accompany the earliest of Kudos European happenings. Bottled Humanism was first produced at the Troisieme Biennale de Paris, Muse
e dArt Moderne de la Ville de Paris, in Paris in 1963, whilst Bottled Humanism, Dry Penis, Instant Sperm occurred at the Workshop de la Libre Expression, Centre Culturel Ame
rican, Paris in 1964.

Utrecht.: Rijksuniversiteit Utrecht., 1972. Pages hole-punched and bound in original file ring-binder. Upper forecorners of file bumped, otherwise good.. (23 x 21.6 cm).. Multiple pages with chapter section dividers. Designed by Anthon Beeke, this ring-bound catalogue was published to accompany a five day workshop on coincidence, with artistic and scientific projects, performances and concerts, together with lectures, visual projects and happenings. With contributions by Barry Le Va, Lygia Clark, John Cage, Douglas Huebler, Peter Hutchinson, David Medalla, Dieter Roth, Herman de Vries, Franz Erhard Walther, and others. Printed in an edition of 2000 copies, this copy has the extra items that are lacking in most copies: the two tipped-in cards and leaf from a dictionary by Ben Vautier, George Brecht’s pamphlet Chance Imagery, three screenprints by Gerhard von Graevenitz (on fold-out sheet), François Morellet’s instructions for a multiple and proposal for a neon work, and two red dice in a plastic bag.

(London).: (N.p.)., 1976. Title + 16 sheets printed rectos only on kodak photo paper. Handling crease to edge of title, otherwise good.. (40.8 x 50.6 cm).. Portfolio edition, composed of large unbound sheets, signed dated and numbered by Druks on the title sheet. This portfolio edition was published in an edition of 20 copies (later published in 1977 in smaller booklet form by the Agora publishing house of Maastricht, in collaboration with the Baack’sher Kunstraum in Cologne, edition of 200 copies). Michael Druks is an artist from Israel equally adept in working with video, painting, and other creative media. These include performance, photography, collage, and installation. Druks’s work has featured at documenta 6 of 1977 in Kassel, the Centre George Pompidou in Paris, the Institute of Contemporary Arts (ICA) and the Whitechapel Gallery in London, and the Tel Aviv Museum as well as other exhibition venues in Israel. Born in Jerusalem in 1940 and having grown up in Tel Aviv, Michael Druks has… Read More

London.: Charles Booth-Clibborn / Paragon Press., 1991. Publisher’s full black cloth, blind-stamped on both front and rear boards. In original plain white card box.. (31 x 55 cm).. pp. (32). Printed by hand using off-set lithography on glossy paper. Artist's book with 26 offset lithographs, which documents a ""twelve day walking journey in Ladakh, crossing twelve mountain passes, from Lamayura to Dras, Northern India, July 1984"" and the repeated ""no thoughts counting paces, Kent, England 1988, 1989, 1990”. The narrative sequence of these two events is realised in the pair of images on each double page opening. Repetition of text and line of the route on the left hand page is juxtaposed with a graphic representation of the sky on the date of the seven paces in question on the right hand page. Published in an edition of 35 copies (+ 10 additional proof copies), each numbered and signed in pencil by Fulton on the colophon page.

London.: Lisson Publications., 1971. Original wrappers, stapled. Faint browning to upper edge of cover, otherwise fine.. (28 x 18.5 cm).. pp. (12). With 8 black-and-white photographic illustrations. The first book published by the Lisson Gallery. Stills of the landscape are accompanied by descriptions, bringing to life Long's intimate encounters with nature. The book traces Long's journey, capturing and recording his markings and imprints on the land. The following year, Long held his inaugural solo exhibition at Lisson (January – February) where he exhibited the work ‘204 Somerset beach stones in 17 lines of 12 stones’.

(Cologne)., 1968. (10.5 x 14.6 cm; 5 x 6.2 cm).. Banker’s cheque (Bank für Gemeinwirtschaft), originally written out and signed by Vostell in March 1968 (for auto repair, amount of 11.98 DM). Vostell has then modified the cheque with numerous annotations, including ‘Du-o Atom’, ‘Feussner Bombe’, and ‘Lennep’. Alfred Feussner was one of the founder members of Labor e.V., together with Vostell, Maurizio Kagel and Heubach. Jacques Lennep worked with Vostell on numerous Video projects. Presented together with another unique work - a small folded hand-towel in a printed cardboard sleeve. Vostell has modified the printed sleeve in black pen, changing the manufacturer’s name from ‘Thenei’ to Vostell, and adding the words ‘Duo’ and ‘Trio’. In 1968 Vostell collaborated with Kagel on the latter’s film entitled ‘Duo’.

1963. Sheet (28 x 21.5 cm).. “June 22, 1963. Dear Hansjoachim, I gave Vostell several photos of my work and of happenings which he brought back to Europe. Can you borrow these from him or do you want some others? Write me directly at the address below: Yours, Claes Oldenburg. Store 107 E. 2nd St. New York 9, N.Y. U.S.A.” Oldenburg has signed the letter in blue pen. Original mailing envelope with imprint of the artist’s Ray Gun Manufacturing Company. Also present is a vintage black-and-white photograph (17.5 x 23.5 cm) of an early painted ceramic ‘coffee cup and saucer’ by Oldenburg. The photo is torn and creased and has been mounted on card. This is accompanied by a further typed letter from Oldenburg, dated October 3, 1963, “Here is another copy of the coffee cup if you can still use it. If you can’t use it, will you give it to Vostell to bring back … I am in California now and I may stay here through the winter, It is a place full of inspriation”.

1967. Sheet size (18.4 x 21 cm).. Typed letter signed by Kay Bearman, then working for Leo Castelli, “Gentlemen: We are very sorry for the inexplicable delay in sending your requested photographs….. We do not handle the works of Christo.” Letter dated October 17, 1967.

-1965. Sheet (29.5 x 21 cm). Printed on single side of sheet, folded. Upper half of the sheet is the letter to Dietrich, typed in two paragraphs, in which Schmit asks if he could send a copy of Brecht’s ‘Water Yam’ or Ray Johnson’s ‘The Paper Snake’ in return for Dietrich’s Kalender65. The letter is signed in coloured pencil by Schmit. The lower half of the sheet has the rather lengthy typed p.s or “pe-es” to the letter, which Schmit transforms into a visual poem concerning the opening and closing of a safety pin.