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

New York.: Fluxus Editorial Council., 1979. Tabloid newspaper. A fine unfolded copy.. (37.5 x 29 cm).. pp. 16. Black and white illustrations throughout. The eleventh issue of the Fluxus newspaper. ""‘A VTRE EXTRA” was edited by the ‘Fluxus Editorial Council,’ in this case, it was Geoffrey Hendricks who initated the project and actually edited it. Sara Seagull was its designer. The newspaper is a posthumous tribute to George Maciunas, printed with the headline ”MACIUNAS DIES. Hart attack kills him at summer palace."" Numbered 11, it can be considered the final Fluxus newspaper. Contributions by Peter Moore, Robert Watts, Henry Flynt, Wolf Vostell, Mieko Shiomi, Ben Vautier, Milan Knízák, Geoffrey Hendricks, George Brecht, Alison Knowles, Bici Forbes, Daniel Spoerri, Ken Friedman, and others. The errata slip is also present containing corrections to Robert Watts’s list of George Maciunas’s vital statistics, as well the inserted list of illustrations. [Ref. Fluxus Codex, pp. 100-101;… Read More

Zürich.: Galerie Charles Lienhard., 1963. Original printed wrappers, stapled.. (29.7 x 24 cm).. Black-and-white illustrations throughout. Exhibition catalogue. This copy with a loosely inserted handwritten letter from Pasmore (dated 24 January 1963), written on the headed paper of the Hotel Plaza Zürich. In the letter Pasmore acknowdeges the success of the Zürich exhibition, noting that several works are already sold or on reserve. He has gone on to mark up the catalogue in pencil with the names of the individual purchasers.

Aarhus.: Aarhus Kunstmuseum., 1976. Sheets loose as issued in printed card folder with flaps.. (30 x 21 cm).. Composed of 56 loose leaves, including a three-sheet introduction by Fred Licht, and the remaining 53 sheets each dedicated to a different participant. Catalogue published on the occasion of the Video art festival, held at the Aarhus Kunstmuseum, Denmark, February 1976. Participating artists included Peter d’Agostino, Eric Anderson, Ylona Aron, Eric Cameron, Hervé Fischer, Fred Forest, Jochen Gerz, Saul Goldman, Marianne Heske, Davi Det Hompson, Roger d’Hondt, General Idea, Sharon Kulik, Suzie Lake, Fred Licht, Gerald Minkoff, Ronald Nameth, Piotr Olszanski, Joan Rabascall, Lisa Steele, Jean-Paul Thenot, Goran Trbuljak and others.

No date. c. 1975.. Single sheet (29.7 x 21), printed single side.. Original photocopied statement work, with each of the words typed singly in a vertical column down the centre of the sheet. Signed beneath in pen, “Arrivederci, Giuseppe”. Giuseppe Chiari is renowned for his Fluxus musical performances in which he deviates instruments from their original function. Influenced by Bruitism and Futurist theatre, and by pioneers such as John Cage, Chiari developed a musical language no longer limited to the scales and sounds emitted by musical instruments, but that integrates all the noises of everyday life. Other “sound art” pieces composed by Chiari consist entirely of fragments which the performers are instructed to “collage,” by playing them in any order they choose, including simultaneuosly. Chiari’s musical practice also informs his composition of visual poetry. As a member of the Gruppo ’70, Giuseppe Chiari composed concrete and “sound” poetry, and was a pioneer in his use of… Read More

Frankfurt.: Typos Verlag., 1962. Original wrappers with dust-jacket. Uneven sun-staining to jacket, otherwise good.. (26.2 x 26.2 cm).. With 30 hors-texte colour plates, all sheets printed recots only. With four interleaving sheets of transparent paper, each printed with concrete poetry. Artist’s book, printed in an edition of 200 copies, numbered and signed in pencil by Schmidt. “In a sequence of 30 sheets, the colours black, red, yellow, blue are played through in the variety of their shades and their mixtures: colour shows itself as an absolute appearance and as a partner of light. These studies on monochromy make direct use of the possibilities of printing without making use of the canvas: the prints themselves are the originals, so that the viewer experiences the unadulterated colour that is meant. All prints are made with the same cliché. In the combined prints, it was rotated 90 degrees before each subsequent print run.” (from the artist’s printed introductory statement). German… Read More

Self-published., 1966. Single mimeographed sheet of text printed in blue. Central horizontal fold, one short tear to lower edge.. (29.5 x 21 cm).. With the jointly realised action Vietnam Party, Brus and Muehl were clearly referring to contemporary geopolitics. Theirs was a cynical commentary on the absurdity of war, which under the slogan “we are cripples” intended to present the “destruction and mutilation of people”. The action, held in Muehl’s basement studio on Vienna’s Perinetgasse, was for invited guests only. Even if the audience remained largely in the role of onlookers, they were supposed to appear in costume and also asked to perform smaller actions, such as throwing various materials. The mimeographed invitation states that costumes were “obligatory” and suggests for example, “bloody ketchup bandages (gauze bandages), head bandages, breast-arm-leg-belly bandages, corsets, girdles, neck supports, splints, prostheses, and plaster casts”. It also recommends each person… Read More

Berlin.: Verlag Galerie Horst Dietrich., 1987. Original plain black wrappers. Book + collage presented in original black cardboard box. Signed by the artist on lid of box.. Irregular pentagonal binding, at its largest measures: (29.5 x 21 cm).. pp. (40). Illustrated throughout with reproductions of Lˆhrs visual text collages. Published in an edtion of 150 signed and numbered copies, with this one of 30 deluxe copies, with an original collage by Lˆhr. The collage, composed of many strips of pages from a book (reminiscent of the work of Franz Mon), is presented under passepartout within a card frame, and is signed and dated by Lˆhr in pencil on the mount. Helmut Lohr was inspired by the rhythm of typography and preoccupied with the appearance of the printed page. He constructed his visual text collages from book pages or musical scores, which he then cut or ripped, reconfiguring and layering the printed words. The objects produced appear carved, revealing underlying edges of printed pages that are… Read More

Announcement card for an exhibition held February 1 - 22, 1975. The card features an image of Acconci's lips and obscured face and a printed text in Acconci's handwriting.

Los Angeles.: Carp., 1976. Announcement card for a film screening, printed white text on black card.. (10.9 x 28 cm).. In a show sponsored by Carp at the Dickson Auditorium at the University of California, Los Angeles, Vito Acconci offered to the public 90 minutes of silent film in colour with captions. In the feature-length silent film, Acconci used handwritten title cards to present an ""interior monologue"" about speaking, language, and silence. The written text alternated with images of Acconci, alone in the interior of an urban loft or on a rooftop, with the skyline of downtown New York as a backdrop.

Chicago.: Museum of Contemporary Art., 1980. Original wrappers, stapled.. (30.7 x 23 cm).. pp. 48. Black-and-white illustrations throughout. Exhibition catalogue, Museum of Contemporary Art, Chicago, March - May 1980. Introduction by John Hallmark Neff. Curated and with a text by Judith Russi Kirshner. Includes descriptions of artworks by Acconci with numerous illustrations throughout.

Berlin.: (Self-published)., 1967. Pink wrappers, with title label pasted to front cover.. (19.5 x 14.8 cm).. 58 leaves, mostly illustrated with pencil drawings. Artist’s book, a joint work by the Fluxus artist Tomas Schmit, together with Maruta Schmit, and Ludwig Gosewitz. They distributed this phallic-obsessed work under the pseudonyms Regula Grind, Luis de Morales and Erwin Siewin in order not to be prosecuted for pornography. The phallic words and phrases, stamped on most of the pages in lower case, ""der einphall"", ""der abphall"", ""das ist häufig der phall"", ""besagter phall"" and so on, are then illustrated with pencil drawings, in some cases with touches of red pencil or opaque white or with applied scraps of coloured paper; ""ein literarischer phall"" has a small collage made of yellow glossy coloured paper with the typewritten inscription ""phallobstzönales”. The picture titles themselves are stamped, mostly as signatures. The books are therefore completely hand-made, the… Read More