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Untitled (Lenny Bruce),” Created in 1963 Division Leap 425 SE 3rd Ave. #303 Portland, OR 97214 [email protected] www.divisionleap.com 917 922 0587 Adam Davis and Kate Schaefer, proprietors Division Leap is a gallery that specializes in art, archives, artist books, zines and ephemera relating to vanguard movements in the arts and counterculture. We also publish artist books and zines. Please note our new address. Since our last print catalog we’ve moved just across the river from downtown, and are now located in the central Southeast Industrial District, in the Oak Street Building - a grimy and infamous stack of artist lofts which has been historically important in the development of the Portland art scene. We welcome intrepid visitors by appointment. There are other galleries, bookstores, and good food in the area. We’re happy to announce that Adam will be the specialty lecturer this year at the Colorado Antiquarian Book Seminar. CABS is a great resource for both prospective and present booksellers, and helps to ensure the ongoing health of the book trade, which is of vital importance in the discovery and preservation of the material that we all care about. If you know of someone who might be interested in attending, please help us spread the word. Scholarships are available. For more information, please visit www. bookseminars.com or contact us. Terms: All items subject to prior sale. We recommend reserving by email or phone. Shipping additional. Payment due with order unless prior arrangements have been made. Institutions billed according to their needs. Customers known to us and in good standing will be invoiced. Payment can be made by check drawn on a US bank, major credit card, Paypal, or wire transfer. All items are returnable within thirty days with advance notice. We are members of the ABAA (Antiquarian Booksellers Association of America) and ILAB (International League of Antiquarian Booksellers). Upcoming Fairs The New York Art Book Fair September 27-30 MoMA PS1, Long Island City 1. Acconci, Vito. ALS from Vito Acconci to Jackson Mac Low. New York: 1968. Single sheet, approximately 5 1/2 x 8 /2”, written in black ink on recto only, approximately 60 words. Housed in an envelope addressed in holograph and postmarked. Folded several times, with some toning, but very good; envelope opened roughly and toned and creased, with additional notations, but very good. The letter concerns the details of an upcoming reading, to be held April 11, 1968. Acconci requests Mac Low approach James Tenney about equipment, and indicates that Mac Low should invite Tenney to participate and be included on the program if he wants. The letter is written from 383 Broome Street, and addressed to Mac Low at his address in the Bronx. We haven’t been able to determine when this reading occurred, but it would have been an important transitional time in Acconci’s career, during the period which he was editing 0 to 9 with Bernadette Mayer. The verso of the letter has holograph notes in Mac Low’s hand in pencil; the envelope bears notations in ink and pencil, some of it in an unknown hand. A valuable behind the scenes look at organizing a reading in the late sixties. Autograph material by Acconci is scarce on the market and this is a great association between two of the most important artists active during the 1960’s. $450 2. Action Theater. 3. [Berrigan, Ted]. Berrigan’s Program for Within and Annotated Copy of United Artists Without: To Mark the Twelve. Passing of Confederate Memorial Day. New York: United Artists, 1981. First edition. 4to. Mimeographed sheets side stapled in New York: Action Theater, wraps. Staples rusted, with creasing and 1965. 4to. 10 leaves some dampstaining, thus good only. mimeographed on rectos only. Stab-stapled into Though there is no ownership signature, illustrated covers. A few this copy is from the library of Ted Berrigan, faint spots of foxing within and is annotated by him in three different and a couple small stains places in his distinctive hand. Berrigan was to the wraps; very good. a contributor to this issue, and at his own poem “Round About Oscar” he has added A beautifully produced program for this Fluxus two words and made several changes to the inspired production by the important avant-garde syntax. These changes are not incorporated theater group. The program lists the involvement of into Berrigan’s Collected Poems, making Carolee Schneeman, Ben Patterson, and John Tenney this perhaps the best extant copy of the as well as an early performance by some guy named poem (in the sense of being closest to the Robert DeNiro. The program is also notable for the author’s intentions). Second, Berrigan has last three pages, a dense list of cross-disciplinary made a fairly lengthy annotation to Tom artists at work all over the world who inspired Veitch’s Clear Lake Journal, with references the work of the Action Theater, made to “indicate to Houdini and Freud. Finally, Berrigan that there are now opportunities everywhere for has made several notes adding fictional interested individuals, foundations, or simply those cover artists to the list of his colleagues UA with facilities or usuable materials to get behind publications at rear, a fascinating example what might be considered basic research in the arts.” of his propensity to “collaborate” with his It reads like a phone book for avant-garde activity in colleagues’ in print that here veers into the middle of the sixties, and makes the publication meta-bookmaking territory. What does not just a program for a single event but also a it mean when Berrigan notes that Clark manifesto and gathering call at a watershed moment Coolidge’s Own Face features a cover by for the arts in the sixties. $450 Andrew Wyeth? SOLD 4. Brainard, Joe. ALS from Joe Brainard to Brigid Polk [with] Two Small Works on Paper. New York: 1971. ALS on two 8 1/2 x 11” ruled sheets of notebook paper, and housed in an envelope addressed in holograph and postmarked. With a 2 3/4 x 3 3/4” envelope within holding two small works on paper – a pen and ink drawing [approximately 2 1/2 x 2 3/4”] and a pencil drawing [approximately 2 1/4 x 2 3/4”] both on card stock, signed and dated. Drawings fine; letter folded twice for mailing, else fine; envelope opened roughly, but very good. A remarkable association between Brainard and one of the most prominent members of Andy Warhol’s factory. Brainard writes to Polk to thank her for a picture, and notes that he has enclosed “YES, AN UNDER_ARM (WITH A TATTOO).” His playful and disarmingly direct use of language is in full evidence; he says “I MISS NOT SEEING YOU” and “IF I DON”T SEE YOU BEFORE ____ HAVE A GREAT SUMMER!*” The small envelope is addressed “FOR BRIGID” and houses the aforementioned color pencil and ink drawing of an armpit and torso, around the nipple of which is a finely inked drawing of a tattoo linking the names Joe and Brigid. This drawing is signed in pencil “BRAINARD 71”. In addition there is another small work on paper, an ink drawing, not mentioned in the letter and dated a year earlier, which depicts a cock lying in repose. SOLD 5. Byars, James Lee. This is the Ghost of James Lee Byars Calling. Los Angeles: Eugenia Butler Gallery, 1969. 5 1/2 x 8 1/2”, pick card stock printed on recto only. Crease to left margin, holograph notation in red ink to verso else very good. The exhibition announcement for Byars’ 1969 installation at the Eugenia Butler Gallery, in which Byars turned the gallery into an entirely red room lit only by a small hole in the ceiling, in which participants were asked to read texts about Byars in order to audibly conjure him in the space. The pink color of the announcement likely reflects the lighting in the gallery during the performance. The nomadic Byars lived with the Butlers for a time. A recent 2011 exhibition at Los Angeles Nomadic Division as part of Pacific Standard Time has brought the gallery new and much-deserved attention. We’ve previously seen several examples of the five-sided exhibition announcement on gold stock which was also printed for this exhibition; this is the first example we’ve seen with this simpler design. $450 6. Carroll, Jim. Jim Carroll With Special 7.Chicago Surrealist Guest Steve Vavoni. Group. A River’s Edge: Sacramento: Surrealist Implications of Club Can’t the Great Flood. Chicago: Tell, 1987. 11 Chicago Surrealist Group, x 17”, offset 1992. 8vo. Single sheet printed in b/w. folded once. Fine. Fine. A critique of the 1992 Original poster natural disaster from for this 1987 an American surrealist reading at the perspective, setting quotes Sacramento from concerned politicians Poetry Center against quotes from workers happy to get the by Carroll, day off. While noting that “natural calamities” featuring a usually disproportionately victimize the poor, the drawing of him brochure also notes that the flood gave a quarter as the statue million workers a paid day off of work, and the of liberty, hypo homeless had a feast because in the absence of clutched in refrigeration restaurants and stores cooked their upraised hand. meat and fed it to the homeless. $75 $200 8. [Chicano Gangs & Low Rider Culture] [Zines] [Graffiti]. Puro Big Time Gangas #1. Np: Puro Big Time Gangas, nd [c. 1984]. First edition. 4to. Offset printed in black and white; saddle-stapled wraps. Fine. First, and we believe, only issue published of this Chicano gang and Low Rider culture magazine.
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