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Catalogue 8 – ( June 2017 )

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Catalogue 8 – ( June 2017 ) Catalogue 8 – ( June 2017 ) 1. Carl ANDRE. Carl Andre. Works in Belgium. Ghent. Imschoot, Uitgevers. 1993. (22 x 15.5 cm). pp. 56. With 26 black-and-white illustrations. Publisher’s cloth, with dust-jacket. Carl Andre's introduction reads: "This book contains an excellent sampling of my work in Belgium. It is by no means a complete list of works created or exhibited by me in Belgium or presently in Belgian collections. I have said that the New York art audience is the worst in the world. The Flemish art audience is one of the very best!”. One of the 65 deluxe hardback copies, (this one of 25 examples numbered with Roman numerals), signed by Carl Andre in pencil under his printed introduction. $ 750 2. Giovanni ANSELMO. Lire. Ghent. Imschoot, Uitgevers. 1990. (22 x 15.5 cm). pp. (80). Publisher’s cloth, with dust-jacket. Artist’s book, printed along the same lines as Anselmo’s legendary 1972 book Leggere. The single word ‘Lire’ gradually reduces in size, page after page, until it is almost unreadable. Then it comes back gradually, until the word fills the complete field of vision of the book, the pages go completely black, and the word becomes invisible. Published at the occasion of the exhibition-series "Affinités Sélectives" at the Paleis voor Schone Kunsten, Brussels, Belgium, organized by Bernard Marcadé. This is one of 25 deluxe hardback copies, numbered and signed in pencil by Anselmo. $ 1200 3. Hans ARP & Sophie TAEUBER-ARP. Hans Arp. Sophie Taeuber-Arp. Hannover. Kestner-Gesellschaft. 1955. (21 x 15 cm). pp. 17 + 7 pages adverts. With black- and-white illustrations. Publisher’s wrappers, stapled. Exhibition catalogue, with essays by Georg Schmidt and Alfred Hentzen. The exhibition ran from 7 January to 13 February 1955. $ 35 4. ART & LANGUAGE. (Terry Atkinson & Michael Baldwin). Hot Warm Cool Cold. Coventry. Art-Language Press. 1967. (25 x 20 cm). pp. 99. Publisher's glossy white wrappers, stapled. Edition of 200 numbered copies, signed by both artists on the inside front cover. “… Atkinson and Baldwin produced the book Hot-Warm-Cool-Cold, in which semantic assumptions, classes of reverential categories, syntactical signs, terms, definitions of vocabulary, logic and the refusal of the object are brought together with the art object and the analysis of art”. (Germano Celant). [Ref. Germano Celant - Book as artwork 1960/1972. p.32; Moeglin-Delcroix - Esthetique du livre d'artiste, p. 37. Printed Matter; Die Sammlung Marzona in der Kunstbibliothek. The Marzona Collection at the Kunstbibliothek. Staatliche Museen zu Berlin, p. 90]. $ 1200 5. ART & LANGUAGE. (Terry Atkinson & Michael Baldwin). Geology 1967-68. Zürich. Editions Bischofberger. 1968. (30 x 21 cm). pp. 8. With two illustrations. Publisher's glossy white wrappers, stapled. Unspecified edition of 200, unnumbered. Signed by both artists on the title page. Geology is a feasibility study for a large object across the Dee estuary - on geographical bases. The Art & Language group was founded in 1967/8 in the United Kingdom by artists Terry Atkinson, David Bainbridge, Michael Baldwin and Harold Hurrell, four artists who began collaborating around 1966 while teaching art in Coventry. The name of the group was derived from their journal Art-Language, which existed as a work in conversation as early as 1966. Charles Harrison and Mel Ramsden joined the group in 1970, and between 1968 and 1982 up to 50 people were associated with the group. Art & Language’s work is characterised by a diverse array of activities and projects commonly characterised by the resistance to categorisation and by an openness of effect and meaning. Their oeuvre marks a historical turn toward a more theoretical, linguistic and critical intervention into the context of fine arts production. Much of their work provokes reflection on the institutional conditions of making and contemplating works of art and reflects critically on the history of modern art and contemporary practice, as well as the uses and functionality to which culture and cultural objects are put. A central concern of their oeuvre from the beginning, as the name Art & Language implies, is the exploration of the relationship between the linguistic and visual and the questions involved in the interrelation and understanding of the one in terms of the other. $ 950 6. John BALDESSARI. Telephone Book with Pearls. Ghent. Imschoot, Uitgevers for IC. 1988. (21.5 x 15.2 cm). pp. (62). With 43 black and white illustrations. Publisher’s cloth, dust-jacket with colour illustration on the front and titles printed in black on cover and spine. Artist’s book consisting of a variety of cropped film stills featuring the title objects - telephones and pearls. These two disparate objects are captured in different settings, with the sequential narrative often utilising Baldessari's signature coloured dots in order to cover faces or other important details. This one of 25 hardback copies, numbered and signed in ink by Baldessari on the front endpaper. [Ref. Uwe Koch, Sabine Röder, Dorothea Klein, Klaus Pohl, Melitta Kliege, Sand in der Vaseline: Künstlerbücher 1980 -2002, p. 151; Johanna Drucker, The Century of Artists’ Books, pp. 222-3]. $ 2000 7. Robert BARRY. Come On. Ghent. Imschoot, Uitgevers. 1987. (22 x 15.5 cm). pp. (144). Publisher’s pink cloth, with pink dust-jacket. Slight fading to spine of jacket, otherwise good. Artist’s book printed on pink paper, with word details or sentence fragments printed, in different positions at different points on the pages, in silver. This one of 50 deluxe hardback copies, here one of the 25 copies numbered with Roman numerals. Signed on final page in pen by Robert Barry with his monogram, and dated ‘88’. $ 600 8. George BRECHT & Robert WATTS. Yam Festival Newspaper. Metuchen, NJ. Yam Festival Press. (1962). Unfolded, (74 x 15.3 cm). Offset printing, black ink on pink paper stock, printed both sides. Edited and published by Brecht and Watts on the occasion of the Yam Festival Press, Metuchen, New Jersey, held at end of 1962, beginning of '63. Contains the text Mirrors by Kaprow, poems by Wakoski and Bloedow, advertisements for An Anthology, for the Yamfest sign shop, Brecht’s flags, etc. With a hole punched at the top of the sheet, as usual. This copy inscribed by George Brecht to Hanjoachim Dietrich in blue pen at the head of the newspaper: “H.J.D.: We would like to advertise Kalenderrolle in our 2nd issue. Is there anything special you would like us to say? George Brecht”. $ 2750 9. Bazon BROCK. Handwritten letter from Bazon Brock to Hansjoachim Dietrich. (1961). (29.4 x 21 cm). Written across both sides of a single folded sheet. One of the most ubiquitous artists on the German Happenings scene was Bazon Brock. Brock regarded himself as Beweger, a person who stirs and sets things in motion. The aim was to focus spectators on the substance and character of a reality with which they have become too familiar and of which they have therefore lost a critical awareness. Brock signs off his letter with the word ‘Beweger’ written under his signature. $ 900 10. Marcel BROODTHAERS. La Séance. Racisme Végétal. Film de Marcel Broodthaers. Cologne. B.H.D. Buchloh. 1974. (29.7 x 21 cm). pp. 12. With several offset photographic illustrations. Original wrappers. Racisme Végétal was originally published in the magazine Interfunktionen no. 11, as an original contribution to the first issue of the paper for Theoretical and Practical Works. The first 50 copies were designated to be signed by Broodthaers, and thus constitute the special edition of the magazine. However, none of these copies were actually signed. Apart from these examples, a further 300 unsigned and unnumbered copies were published in 1974 as an artist's book, of which this is one. The book incorporates found photographic film still imagery from Laurel & Hardy and James Cagney, situated within a printed disembodied narrative. [Ref. Jamar - Marcel Broodthaers - Complete Graphic Work & Books 43; Jan Ceuleers - Marcel Broodthaers. The Complete Prints and Books, no. 44]. $ 1800 11. Stanley BROUWN. send me a map of the city where you are living. Copenhagen. February 1970. (7.1 x 10.1 cm). Small card printed in blue on single side. Brouwn has written Hansjoachim Dietrich’s address on verso of card. Posted on the 21 February 1970 from Copenhagen. With this card, Stanley Brouwn outlines a clear set of instructions, but relies upon the participant to complete the process. In the conceptual art movement, a procedural approach was favoured. A rare piece of ephemera, for a resolutely undocumented early Stanley Brouwn action. $ 750 12. Victor BURGIN. All Criteria … London. Self-published. 1970. Each page (29.7 x 21 cm). Two one-sided white sheets of paper, text printed offset black. Printed in an edition of 50 copies, dated, numbered and signed in pencil by Victor Burgin in the lower margin of the second page. One of Burgin’s earliest conceptual works, an example of what is now called his Enoncés performatifs (Performing Utterances). The term Enoncés performatifs was in fact created by Alfred Pacquement in the French contemporary art journal ‘Art Press’ in 1972. Austin writes: “The constative utterance, under the name, so dear to philosophers, of statement, has the property of being true or false. The performative utterance, by contrast, can never be either … it is used to perform an action. To issue such an utterance is to perform the action, action which might not be accomplished”. Burgin’s texts are divided into propositions describing an event at a general rather than a particular level (they do not necessarily refer to any particular event known to Burgin). For example the first three propositions in this work are: 1.
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