Palm Beach Palm Trees Wrapped With Mylar Art Basel
Nobuyoshi Araki
Oo Nippon (Oh Japan!), 1971
1902
x 5/eight ten 8 1/8 in. (27 10 xx.5 cm)
Tokyo: Mikishuppan. 255 black and white photographs printed using the heliogravure method. Original colour photo-illustrated self-wraps. Paperback with printed cover. Text by Uchida Eiichi. The potent erotic element of this work would become a characteristic of Araki'due south manner. Female models are photographed nude in front of a evidently background. Pubic hair is, in conformity with Japan's censorship laws, covered with dark marker pen.
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Nobuyoshi Araki
Senchimentaru no Tabi. (Sentimental Journey), 1971
1882
9 1/iv ten 9 1/4 in. (23.five x 23.5 cm)
Tokyo: Privately printed, 1971. Araki is a major celebrity, simply when this volume was self-published in 1971, he was unknown. It is a photo diary of Araki's honeymoon, including an image of a gravestone that provides an eerie foreshadowing of a later volume chronicling his wife's death. All the elements that brand Araki a world-class lensman are on full display here: the juxtaposition of the erotic and the banal, the expressionless beauty of modern Japanese life, the unadorned image, reduced to its bare necessity. Sentimental Journeying is ane of the most important Japanese photobooks published. Afterward hundreds of books and significant fame, it remains Araki'due south best and almost influential work.
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![Tauba Auerbach, [2,3] 2011](/images/23512_h550w916gt.5.jpg)
Tauba Auerbach
[2,3], 2011
4005-BK
twenty 5/8 x xvi three/8 x four three/eight in. (52.7 ten 41.9 x 11.4 cm)
For [two,3], Auerbach has created an oversized pop-upwards volume featuring half dozen die-cut paper sculptures that unfold into elaborate forms. While much of Auerbach'southward piece of work has previously dealt with compositions staged in the flux state between 2D and 3D, [2,3] represents an expansion for the artist towards a more sculptural medium. Engineered past the artist, each "folio" opens into a beautifully synthetic object, intricately conceived so that the large-calibration paper works—some up to 18" tall—can exist collapsed totally flat. The half-dozen sculptures in [2,3] accept their cue from a range of geometric forms—the pyramid, sphere, ziggurat, octagonal bipyramid (gem), arc, and möbius-strip. The utilise of a bright, contrasting palette is familiar from Auerbach's previous work across a range of materials, including acrylics, etchings and C-blazon prints. This groundbreaking project stands as an amazing art-object, role bookwork and part sculpture, and represents an advance in the field of pop-up technology. The six volumes will exist housed in a specially designed slipcase, and each folio volition mensurate 20" ten 32" when open. [2,iii] is co-published by Tauba Auerbach and Printed Matter, Inc. in a signed and numbered edition of 1,000. Although the edition was 1000, the book was unfortunately published shortly before Hurricane Sandy. The publisher's storage space was inundated with flood waters and the bulk of the edition was destroyed, making the few copies that were dispersed pre-Hurricane Sandy difficult to locate.
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Miroslaw Balka
Entering Paradise, 2003
3485-BK
15 iii/iv x 15 1/8 in. (40 ten 38.5 cm)
Jump book of 14 difficult and soft ground etchings on natural Gampi and Rives de Lin papers. Text past Balka, letterpress. The artist paid homeless people on the streets of California to allow him to imprint their bare feet (more often than not toes) on a copper plate to brand these prints. The result is a startling collection of strong merely subtle images that reflect the frailty of human being. The edition is express to 25 copies: 1–10 are bound books; numbers 11-25 are portfolios of loose pages. In that location are 3 sets of artist'south proofs. Published and printed by Edition Jacob Samuel, Santa Monica, CA. Edition of 20 copies
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Brigid Berlin
Untitled, 1972
4219-BK
6 ane/xvi x 4 5/16 in. (15.four x 11 cm)
Former Warhol Factory acolyte, Berlin narcissistically documented her life via Polaroid photographs. This volume is a unique example from a series of "tit paintings"—colorful prints made past pressing her painted or inked breasts on newspaper. Inscribed "For Bob with love, Brigid." Ex-drove Robert Rauschenberg.
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Alighiero Boetti
I Mille Fiumi Più Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
10243-BK
eight three/8 10 half-dozen 3/8 x 2 one/8 in. (21.5 x 16.5 x 5.5 cm)
Deluxe event with hand sewn comprehend. Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. 1006 pages.
Boetti worked with Anne-Marie Sauzeau on this book for over 7 years. The desire to reduce the world to the binary logic of "correct or wrong" may well be an acrobatic feat of highly refined, abstruse intelligence simply it is knowledge that bypasses the world. At the fourth dimension, the earth'southward rivers hadn't been measured and measurements fluctuated substantially, regarding not only the source, but even the course and the mouth of the rivers. Fluctuations up to 100 miles in length were no exception. In the book, each folio is devoted to ane river with a factual list of its technical information. The book conveys metaphor, procedure, and reality. This re-create is #31 of 150 deluxe copies, with mitt-sewn comprehend. Ex-collection Umberto Morera.
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Alighiero Boetti
I Mille Fiumi Pi√π Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the globe), 1977
7371-BK
eight 3/8 x half dozen 3/eight 10 2 1/8 in. (21.v x 16.5 x 5.5 cm)
Printed by Boetti in Ascoli Piceno, 1977. Text past Anne-Marie Sauzeau-Boetti. Edition with ruby-red cover, numbered; 1006 pages. Produced over seven years, Boetti collaborated on this book with fine art critic Anne-Marie Sauzeau. Boetti had a corking involvement in the relationship betwixt chance and club, numbers and the world in diverse ways of system and nomenclature, and the means in which cultural order is imposed on the complexities of nature. Known to many scientists equally “Boetti List,” the thousand plus-page book categorizes a thousand waterways in order of their length according to the nigh reliable documentary sources at the fourth dimension. Each page is devoted to ane river with a factual list of its technical data. The book conveys metaphor, process, reality—at once poetic and scientific. Edition of 500 copies.
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Irma Boom
Hommage à Kelly, 2016
09823-BK
8 x 6 in. (xx.3 x 15.two cm)
Designed as a tribute to one of her inspirations, the minimal artist Ellsworth Kelly, who passed recently. The enormous 1,216-page volume of get-go pure color blocks is encased in a clamshell blackness box and printed in a limited edition of simply 99 copies, each signed and numbered in pencil. Amsterdam: Slewe Gallery. This is copy #95.
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Louise Conservative
ODE A LA BIEVRE, 2007
1669
Louise Bourgeois was born in Paris in 1911. In 1919, her family moved to the Parisian suburb of Antony where the Bièvre River "cut across the garden in a straight line". The river was key to their relocation as it was imperative to the family's business organization of tapestry restoration for the washing of the tapestries. In 2002, Bourgeois would distill her emotions and memories of the river and the garden in an important unique material book entitled ODE À LA BIÈVRE. In the book she reminisces through images and text, "With the soil from that river we planted geraniums, masses of peonies, and beds of asparagus ...and honeysuckle that smelled so sweet in the rain." Using her ain garments every bit raw material to brand sewn fabric collages, she evoked feelings and memories through lines, shapes and colors. Years later, Conservative was to go back to the firm with her ain family unit only to find the river to no longer exist, "but the copse that my begetter had planted along its edge remained every bit a witness". This 2007 book faithfully reproduces that original fabric work. Each volume is signed and numbered on the colophon and includes two signed photographs digitally printed on Verona paper and mounted on 300 gram watercolor paper with the corresponding titles: "The garden in Antony, 1921" and "The Bièvre River, 1951." Housed in a blind embossed skid case each book is uniquely bound with hand dyed and distressed linen.
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Louise Bourgeois
Album, 1997
1563
8 3/8 x 12 in. (21.5 x 30.v cm)
123 pages, offset, fabric with brass binding screws.
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Robert Breer
Epitome Par Images, 1955
4220-BK
4 7/8 x iii five/eight in. (12.5 ten 9.1 cm)
A unique flip volume using only lines in movement dedicated to Robert Rauschenberg. Breer was all-time known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm pic footage, photographs, and other materials. Breer was an experimental filmmaker, painter, and sculptor. This unpaginated flip book is an experiment that helped him transit from painting to films. "I made a flip volume of small paintings to try to empathise how I arrived at making this final painting. I was working in very uncomplicated geometric forms, difficult edge, conventional, you know, more or less conventional neo-plasticism. Then, this first flip book and so became the ground for a flick on my next visit to America, which was that yr, 1952, and nonetheless I didn't actually use those original images. I had to invent my own system because I had no training in filmmaking at all and certainly none in blitheness. I only knew that I had to do 1 frame at a time."
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Marcel Broodthaers
La Conquête de l'espace, (The conquest of space), Atlas, 1975
3776-PR
19 1/4 x 24 3/4 in. (49 x 63 cm)
Lithograph in black ink; untrimmed sheet of the pages of a posthumously published miniature book past the artist called "The Conquest of Space: Atlas for the Use of Artists and the Military".
From the edition of only 50 copies. HC copy no. VII with Estate stamp on back.
Published past Lebeer Hossmann Éditeurs, Brussels and Hamburg
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Marcel Broodthaers
La Conquête de fifty'espace, Atlas à fifty’usage des artistes et des militaires, (The conquest of space, atlas for the apply of artists and the war machine), 1975
6343-BK
one 7/16 x 15/16 in. (3.viii x two.v cm)
38 pages in slipcase, offset lithograph, containing silhouettes of a selection of 32 countries of the world shrunk to the aforementioned scale as Kingdom of belgium, with no difference in size, arranged alphabetically. Published by Edition Lebeer Hossmann, Brussels and Hamburg. A tiny and nearly rare of import final artist's volume by Broodthaers that plays on language, scale, and function—it is transportable, but useless. This book was published shortly before the artist's unexpected death in 1976 thus all copies remain unsigned and are stamped “Estate M Broodthaers” and numbered by the publisher. Number 17 of l copies.
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Sigrid Calon
To the extend of / \ | &, 2012
09852-BK
thirteen iii/eight x eighteen in. (34 x 46 cm)
Inside the grid and beyond the pattern. Deluxe edition portfolio of simply 10 copies consisting of 120 compositions printed on 300 gram Munken Pure uncoated newspaper. This work arose out of Calon's fascination with color and a grid—an embroidery grid, to be precise—with a minimal basic grating of three x 3 dots. With these dots, 8 different embroidery stitches tin be made. A book without text, it reads easily, with work that displays some extraordinarily disciplined and dedicated enquiry, placing abstruse forms rhythmically with tremendous chromatic power and opulence. Each colour combination in this volume appears only in one case. Edition of only 10 copies. The sold out book was an Edition of 420.
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Pia Camil
Xiuquilla/Bluish milk weed, 2017
09951-BK
19 five/8 ten xix 5/8 in. (50 10 50 cm)
Paw sewn cotton piano accordion pleated leporello volume, with screen press, in material box with colophon. Published by Zucker Fine art Books, NY. Edition of eight variants, with 2 AP. Each re-create is signed and numbered. Each book is handmade from repurposed textiles the artist institute in Mexico Metropolis. Camil'south interventions include cut shapes mutual in making of dress such as sleeves, collars, torsos, and recombining them in a colorful array, manus sewn into a double sided sequence. She designed pocket-size buttonholes in between the panels and so the work tin be hung as a imprint besides, choosing either side for display. This sort of interaction between the work and the viewer is a fundamental element throughout Camil's oeuvre, which includes works to exist worn or walked on.
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Marc Chagall
Les Sept péchés capitaux (Seven Mortiferous Sins), 1926
4235-BK
10 x 3 1/2 in. (25.5 x 9 cm)
fifteen etchings and 1 etching printed in sanguine, with two additional suites of the 15 etchings printed in sanguine (one on China paper and the other on Japan paper), with an original pen and ink sketch for one of the etchings. The text contains essays by Jean Giraudoux, Paul Morand, Pierre Mac Orlan, André Salmon, Max Jacob, Jacques de Lacretelle, and Joseph Kessel. Publisher: Simon Kra, Paris. Printed by Louis Fort. This is i of 15 deluxe copies on Nihon paper, from an edition of 300. Numbered four on the justification with the drawing.
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Salvador Dali
Don Quixote de la Mancha, 1957
1745
17 5/8 x 12 one/two in. (45 ten 32 cm)
With 12 color lithographs. This Don Quixote trilogy is comprised of Don Quixote: The Warrior'due south Heard, Don Quixote: The Gift of Mandrino, and The Story of Don Quixote. In this trilogy Dali depicts Don Quixote, Cervantes' idealistic Castilian nobleman who fancied himself a knight fighting the world'due south injustices; he saw flocks of sheep equally enemy armies, and served the causes of truth and beauty. Information technology has been said that Don Quixote's quest was an apologue of the eternal search for goodness and truth, with an idealism that appeared to be madness in a world that sometimes viewed heroism and love equally a form of insanity. How interesting Dali must have found this satirical romantic!
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Paolo Gasparini
La Llave de la Carretera, 2012
4101-BK
9 5/viii ten thirteen 1/8 in. (24.v 10 33.5 cm)
vol. 25 Paolo Gasparini photographs José Agustin text Normal Studio example In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking upward the aforementioned politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex activity, near to take to the route. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and forth the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the proper noun Normal Studio, the agency they created in 2006, take designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini'southward photographs. Each work contains four diptychs fabricated of ii prints, reverse each other, with the shape of a creek cut out of the text block.
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Andreas Gursky
Montparnasse, 1995
3668-BK
19 one/2 ten 11 in. (49.v ten 28 cm)
Two square quarto vols., and oblong folio photo-reproduction. Original silverish coated wrappers, printed in black, original silverish coated portfolio, printed in black, all laid into the original silver papered box. A fine copy, with the print in fine condition. Start edition, outset lithograph in color, on wove paper, with text volume and volume of reproduction of blown upward images. Andreas Gursky is a German photographer all-time known for his vast colour architectural landscapes. His indicate of view is oft and then far from the object that it is difficult to tell what it is. In this photograph, hundreds of windows simply go tiny squares and lose their significant every bit architecture.
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Carsten Holler
Primal to the Laboratory of Doubt, 2006
1500
Anamorphic key, cast in sterling silver, approx. 3 1/8 x three/iv x 1/8in.(eight x 2 10 0,5 cm). Polished stainless steel cylinder, ane 1/2 x 3/4 in.(4 x 2 cm). Silver necklace approx. 27 1/2in (70 cm). Production and 3-D scanning by Factum Arte Madrid. Initials engraved and numbered.
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Jenny Holzer
TRUISMS (selections from 1977-79), 2013
4549-SC
13 iii/8 x xi ane/two 10 5 seven/8 in. (34 ten 29.5 x 15 cm)
Digital animation with Hard disk mini-projector in custom enclosure.
published by platypus editions, new york
Edition of 12
49-minute digital animation loop, comprised of 232 Truisms, running alphabetically in two rotations, with 32 unique animations. Powered by internal battery (1.5 hours) or Air conditioning current. Housed in a portable stormproof carrying instance, with enclosure, numbered and signature stamped on the bottom.
Projection distance at 20 ft/ 6m Epitome Size 7ft/2m loftier and 10ft/3m wide. Alphabetic character Size: 1ft high
Enclosure: 8x5.5x9.5In. (20,3x14x9,5cm); Example:13x11.5x6In (34x29,5x15cm)
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Graciela Iturbide
FRANCOLIN, 2009
3902-BK
nine x eleven 3/4 x 1 one/8 in. (23 x 30 x iii cm)
VOL. 15 Graciela Iturbide photographs- 4 signed platinum prints Abdourahman A. Waberi text Ryuji Mitani case- Japanese walnut hollowed out with a chisel past Mitani himself Edition of 30 copies Graciela Iturbide'south cocky-portraits have given rise to a story all about controlled violence. Waberi has summoned up the life of a frustrated rioter in an imaginary land, a wreck, cut off from Western club who sees himself as part of the animate being species. Francolin finds relief for "his rheumatism with concoctions based on whitewash and ostrich eggs". The story is divided into segments, each one taking up one of the four sections of the book which get smaller every bit the story unfolds.
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Kikuji Kawada
Nude Theater, 1984
1968
19 7/8 ten fifteen 15/xvi in. (fifty.5 x 40.v cm)
Black leather portfolio containing 10 large silver gelatin photographs taken in 1981 on the artist's trip through Europe, each i signed on the back. Kawada, known for his legendary book, "Chizu (The Map)", departs from his Provoke motility roots and photographs nude women in Old Master paintings. During this time Daido Moriyama and Keizo Kitajima were exhibiting their postal service-Provoke imagery using street photography and graphic imagery. Some 10+ years later Hiroshi Sugimoto took portraits of people in Old Master and Renaissance paintings, which may have been influenced by this project by Kawada.
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Gustav Klimt
Eine Nachlese, 1931
11243-PR
20 x 18 5/viii in. (51 x 47.five cm)
Series of 30 plates (of which fifteen in colors and partly with gilt print) by Klimt. Fine copy of this splendid and lavishly printed Viennese portfolio, a luxurious overview of Klimt'south work. Loose sheets in green original material example with gilt-tooled cover title. One of 170 copies in very good condition.
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Guillermo Kuitca
Puro Teatro, 2003
2160
15 5/eight x 16 in. (40 10 40.6 cm)
Portfolio of 12 loose prints using difficult footing etching and spit seize with teeth aquatint techniques on Rives de Lin and natural Campi papers from the Shikibu Paper Mill. The plates were made in the creative person'south studio in Buenos Aires during August, 2002. 2 pages of text written by the artist. Designed and printed by Jacob Samuel in Santa Monica, CA, with assistance from Eric Ziemann. The edition is limited to 25 signed and numbered copies, and six sets of artist's proofs. Numbers i-10 are bound books; numbers xi-25 are loose in portfolio boxes. Edition of 25 copies
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Barry McGee
Drypoint on Acid, 2006
1075
7 3/4 x 6 1/4 in. (20 x 16 cm)
Portfolio of ten prints in a variety of printmaking techniques and collaged silkscreen additions; in a woods box with silkscreen on hat.
Published by Edition Jacob Samuel, Santa Monica, CA.
These images utilise collage elements from the creative person's vast drove of old industrial printed paper, which he embellishes with his ain images depicting those who live on the margins of society.
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Beatriz Milhazes
Meu Bem, 2008
11621-BK
14 one/4 x 11 iii/iv ten one i/2 in. (36.5 x xxx 10 4 cm)
Meu Bem, which translates to "My Darling" from Portuguese, consists of 30 pages plus covers, each created by mitt, using diverse complex print techniques including giclée, screen press, foil blocking, and die-cutting, with detailed collage throughout. The volume is hand sewn and in a instance bound in a difficult cover housed in a clear yellow acrylic box. For each volume, Brazilian artist Milhazes has made an original, separate collage. Published past Ridinghouse. Edition of 38 copies.
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Joan Miro
Ubu Roi, 1966
180
16 1/ii x 12 five/eight in. (42 x 32.3 cm)
Contains xiii original lithographs in color past Miro. Folio. loose as issued in publisher's portfolio. Book signed by Miro.
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Daido Moriyama
Nippon Gekijo Shashincho (Nihon A Photograph Theater), 1968
2185
8 one/iv ten 8 five/8 in. (21 x 22 cm)
Paperback, championship printed on the green cover, in its original paper-thin slipcase. 149 black and white photographs printed using the heliogravure method. Text by Shuji Terayama. This is the showtime publication entirely devoted to Moriyama'due south work. Images are violent and nighttime. Deeply influenced by William Klein's New York, Moriyama transforms texture, contrast, deformation, the accidental, and abstraction into a visual language representative of the Provoke movement in Japan.
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Bruce Nauman
LAAIR, 1970
4803-BK
12 10 12 in. (30.5 x thirty.5 cm)
Castelli /Multiples Inc., New York, 1970. Start edition. Square 4to.; illustrated throughout in color; printed wrappers;staple-leap. LAAIR was Nauman's follow up to CLEARSKY. He later on said of the two books that, "CLEARSKY was a style to have a volume that only had colored pages--pictures of the sky. I like the idea that you are looking into an prototype of the heaven, but information technology is just a page. LAAIR was the aforementioned idea, only information technology is also a response to CLEARSKY using polluted colors instead."
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Giulio Paolini
Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, (What doesn't have limits and what of his own nature does not allow limitation of whatsoever kind), 1968
10173-BK
9 3/4 x 7 in. (25 x 18 cm)
The book is derived from a work, "Titolo, 1968", consisting of ii large canvases placed side by side like 2 pages of an open book. Paolini states: “I placed all the letters from written names in my notebook.” As curator and critic Germano Celant observes, a name is merely an abstract label that coincides with the person. This copy is one of simply six copies numbered with Roman numerals, V/Six, where the title is handwritten on the comprehend of the volume. In the regular edition of 50 copies, the title is printed on the mylar dustcover.
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Adam Pendleton
Album, 2018
11862-BK
18 i/2 ten fourteen 1/4 ten 2 in. (47 x 36.2 x five.1 cm)
Large folio with 200 compositions and a unique cover. Isolated photographs and fragments photocopied from the pages of books are layered with marks, dashes, patterns, shapes, and handwriting that often verges on abstraction. Each composition is unique, merely many elements iterate and recombine throughout the serial: masks, ceramics, phrases ("WHAT A DAY WAS THIS"; "IF THE FUNCTION"), and historical images related to modernism and decolonization in Africa. The book, which collates the works in chronological sequence, encourages readers to runway these recurring components as they phase in and out across the book's 200 pages. The compositions are directly related to Pendleton's collages on mylar and the book translates and indexes these source collages which are usually printed on transparent picture whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each volume has a unique embrace: a patterned black-and-white canvass fabric, screen printed with one of iv handwritten texts. Copy northward 4 of 24
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Giuseppe Penone
Svolegere la propria pelle (Developing 1'due south Own Pare), 1970/71
3678-BK
8 three/viii x viii 1/two in. (21.3 x 21.7 cm)
104 pages, Sperone Editore, Turin, 1971. Penone mapped his entire body with hundreds of photos taken when pressing a canvas of drinking glass against different parts of his body, assembling assembling the resulting images into grids. In these photographs the subject is seen "unrolling one's skin against air, h2o, globe, stone, walls, copse, dogs, handrails, windows, roads, pilus, hats, handles, wings, doors, seats, stairs, wearing apparel, books, optics, sheep, mushrooms, grass, skin..." wrote the artist, reflecting on the quantity of voluntary and involuntary signs that bodies disseminate and spread onto different things. Unspecified edition size.
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Michelangelo Pistoletto
Cento mostre nel mese di ottobre (I Hundred Exhibitions in October), 1976
10013-BK
3 one/2 x 3 ane/two in. (9 x 9 cm)
Galleria Giorgio Persano, Turin. *signed on inside cover 100 pages with original wrappers of absorbent xanthous blotting newspaper. Each copy contains an original drawing past Pistoletto on the front encompass. For this example, the artist has called a series of dots and signed on the within of the comprehend. A small cube, this is an artist's volume entirely without illustration, containing instead 100 brief descriptions of exhibitions, all imagined, one per page, in Italian on recto and English on verso. One Hundred Exhibitions was a sort of recipe book of shows and works, many of which were later carried out. Reference: MAFFEI Giorgio, Libri e documenti. Arte Povera 1966-1980, Edizioni Corraini, 2007, pp. 168-169.
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Dieter Roth
Stundenbilder, 1977
11702-BK
Unique Maquette with 19 photos pasted downward on a menu. With hand written text by the creative person: DONNERSTAG, 6.1.1977 3 Wochen, 20 Fotos am Tag von Dieter Roth Aufl.: three Signed Nr. one/3
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Dieter Roth
Stundenbilder (Hourly Photographs), 1977
11692-BK
iv x 6 in. (10.two 10 15.2 cm)
16 leather jump books containing a full of 305 signed photographs with hand written time stamping.
On January 1, 1977, at 1:00 a.chiliad. in Chicago, Roth devised an ambitious photo projection for which he planned to take i photograph every hour, 24 hours a 24-hour interval, for 365 days of a year: every hour a shot of what simply lay in forepart of him at that particular moment. Although he abandoned this thought in March he self-published a prepare of sixteen books in readymade bindings in a small edition of 3 which documents the idea. It is one of the cardinal works of conceptual artists' books of its time and is a testament to how far ahead of his fourth dimension Roth's ideas really were. A prescient forerunner of Instagram!
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Dieter Roth
Book HB (2. Aufl.), 1973
9451-BK
fifteen 10 fifteen in. (38 x 38 cm)
24 blue and orange hand-cut sheets with slots at ninety, 75, and 60 degrees. With the 38cm foursquare format, Roth goes back to smaller sized paper he started using in the early on 1960s. This is copy seven of the proposed edition of 25, signed and dated on title page.
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Dieter Roth
Book AA, 1964
4412-BK
15 x 15 x 3/eight in. (38 x 38 x 1 cm)
Hand cut volume made in New York with 17 black and white paw cutting sheets of paper. This copy was sold to the owner for $xxx while Dieter was looking for piece of work in New York during these hard times in August 1964 with the original hand written neb from the artist. Edition # 49/100
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Dieter Roth
Kinderbuch, Children'south Book, 1957
8493-BK
12 one/ii x 12 1/two in. (32 x 32 cm)
Roth'south first published artist's book comprising 28 pages, 4 color linocut of geometric shapes with spiral bounden. Created using merely two shapes, the circumvolve and the foursquare, and the three chief colors, red blue and yellowish plus black. Roth demonstrated his interest both in the accumulation of forms and in compositional symmetry. Edition of 100, few copies survive today.
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Ed Ruscha
Set of 16 books from Henry Hopkins, 1963-78
4377-BK
Set comprises 16 seminal books by the artist: Twentysix Gasoline Stations, Diverse Minor Fires, Some Los Angeles Apartments, Every Edifice on the Sunset Strip, Thirtyfour Parking Lots, Royal Road Examination, Business Cards, Nine Swimming Pools, Crackers, Babycakes, Existent Manor Opportunities, A Few Palm Trees, Dutch Details, Records, Colored People, and Difficult Light. All signed or inscribed to Henry except Babycakes and Various Small Fires, which accept the rare ”compliments of author card” from Ruscha enclosed. Hopkins was the curator at the LA County Museum in the 1960s and bought Ed's first painting for the museum. Henry Hopkins directed the San Francisco Museum of Modern Fine art earlier returning to UCLA, where he led the Wight Fine art Gallery and the Hammer Museum. Dimensions variable.
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Kate Shephard
Steiner Book Serial/ Tangram 1, 2017
09821-BK
xi x 8 in. (27.nine x 20.iii cm)
16 pages of hand inked newspaper with eight paw drawings of numbers using blocks from a Tangram prepare coveted by the artist. Colors in yellow, blue and white, applied every bit an ode to the Pittsburgh Steelers logo. Edition ane of ii. Signed and numbered on back cover.
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Kate Shephard
Tangram number progression on yellow, white and blackness, 2017
10172-BK
16 1/2 x 11 3/eight in. (42 10 29 cm)
16 pages of hand inked paper with 8 manus drawings Edition 1 of 1. Signed and numbered on back cover.
Toll Upon Request
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Josh Smith
LOOKY HERE, 2016
7651-BK
24 x 15 11/16 in. (61 10 forty cm)
12 pages from offset machine in black on newspaper housed in blackness board folder. Editon 6 of 9
Cost Upon Request
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Josh Smith
Orangish Book, 2015
6392-BK
11 x 8 1/2 in. (27.9 x 21.half-dozen cm)
Spiral bound paw made book using stuff plant on the street including discarded orange slices. Edition of only half-dozen copies signed and numbered.
Price Upon Request
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Kiki Smith
Still Life, 2001
2165
vi ane/4 10 6 seven/8 in. (16 x 17.5 cm)
Visual creative person Kiki Smith and author Lynne Tillman collaborate in this creative person's book designed in the spirit of a modest and intimate medieval book of hours. The work consists of twenty-iv colour photographs in dialogue with the sentences of a short prose piece titled "The Lost City of Words." Sentiments of loss, retention, and the ephemeral nature of life are juxtaposed with objects institute in Smith's studio: sculptural works-in-progress, luminescent drinking glass bulbs, expressionless birds, items found in a makeshift sleeping accommodation. The book is elegantly presented in a case of molded plastic and closes with a squeeze in wrought metal designed by Ronan & Erwan Bouroullec. Edition of threescore.
Price Upon Asking
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Joel Stein
Jeux de trames (Play of Patterns), 1962
8381-BK
18 x 15 1/4 in. (46 x 39 cm)
Portfolio with 10 reliefs in color, signed by the artist. Text by Pierre Schaeffer.
Published by Éditions Georges Visat et Cie, Paris.
Edition of 103 copies.
Cost Upon Request
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Nakahira Takuma
Kitarubeki Kotoba no Tameni. For a Language to Come up, 1970
2180
12 x viii 1/2 in. (30.5 10 21.6 cm)
Paperback with an illustrated embrace and dust jacket. Original cardboard slipcase with title and name of author printed on the covering sticker. 103 black and white photographs printed using the heliogravure method. Text by Okada Takahido. Graphic concept by Kimura Tsunesisa. Nakahira was the instigator of the movement PROVOKE and, in a sense, its political censor. This piece of work reflects the best of the group's aspirational piece of work even though information technology appeared well after they split up up. Mainly nighttime photographs, these images taken between 1965-1970 take great expressive and lyrical force.
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Shomei Tomatsu
OO! Shinjuku, 1969
2114
vii 3/8 ten 10 1/8 in. (nineteen x 26 cm)
Paperback with illustrated comprehend. 120 blackness and white photographs with the text past Shomei Tomatsu at the stop of the publication. It is no coincidence that this publication appeared at the same time as the 2d issue of Provoke is no coincidence. The photographer's exploration of the Shinjuku gay district focuses on similar subject matter, namely sex activity, drugs and hush-hush lifestyles. Tomatsu'south piece of work contrasts with that of Morriyama or Nakahira in its clarity and precision.
Cost Upon Request
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Cy Twombly
Octavio Paz, Eight Poems, Cy Twombly, 10 drawings, 1993
5653-BK
xiii ane/8 ten 10 in. (33.4 ten 25.7 cm)
Complete set up of iv unsigned heliogravures in color past Cy Twombly and eight poems by Octavio Paz, hors-texte, title, justification, colophon, and reproductions of the artist's drawings, text in English and German, on smooth wove and laid papers, signed on the colophon by Paz and Twombly.
Published by Udo and Anette Brandhorst, Cologne.
100 copies of the Special Edition (the total edition was 1,000), spring in two volumes (as issued), with full margins, in splendid condition, original newspaper-covered portfolios, and original paper covered slipcase.
Price Upon Request
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Dan Walsh
Vista, 2009
10833-PR
11 five/8 x 12 3/four in. (29.8 x 32.iv cm)
Woodcut on shikoku newspaper edition 8 of thirty 4AP, 1TP
Cost Upon Request
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Christopher Wool
Four Curt Stories(4 parts), 2004
11783-BK
19 x 13 in. (48.3 x 33 cm)
A fix of four color Inkjet prints on wove paper with full margins, printed by the artist, each one signed, dated, and numbered in pencil. Title sheet on copy newspaper. Published to benefit the Camden Arts Center in London. Edition of 65 copies.
Price Upon Request
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Yun-Fei Ji Yun-Fei-ji
The Three Gorges Dam, 2009
3410-BK
13 3/4 x 120 3/viii in. (35 x 306 cm)
Woodblock print, hand printed with traditional Chinese watercolor inks from 500 paw carved blocks of pear wood, on mulberry paper and silk, in silk leap case. Yun-Fei Ji'south Three Gorges Dam Migration, the seventh in the serial of artists' books inaugurated in 2002 past the Library Council of The Museum of Modern Fine art, is a hand scroll, the traditional "volume" form of erstwhile China. This ten-human foot-long horizontal image, mitt-printed in China from over 500 mitt-carved woodblocks, depicts the flooding and social upheaval caused by the structure of the Three Gorges Dam, on the Yangtze River in the fundamental role of the country. A gradually unfolding narrative, Ji's coil records the sometimes banal, sometimes dramatic effects of social and environmental engineering. The work reflects Ji'south ongoing study of the human being and ecology loss associated with i of the largest civil-engineering feats of contempo times. Completed in 2012, the Three Gorges Dam will exist the world's largest hydropower plant, generating enough electricity to serve four cities the size of Los Angeles. Meanwhile its immense reservoir has caused significant ecological alter, displaced at least 1,200,000 people; it has submerged thousands of villages, aesthetically resonant landscapes, and valuable archaeological sites.
Price Upon Request
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Andrea Zittel
Rules of Raugh, 2005
1083
10 1/ii x fifteen in. (26.vii 10 38 cm)
Portfolio of nine loose etchings using hard-ground etching and spit seize with teeth aquatint techniques on Magnani Pescia and colored Gampi papers, including one text page and a colophon, housed in a handmade wood box. The work of Andrea Zittel has many aspects and falls into many categories. She is a painter, sculptor, architect, carpenter, building contractor, seamstress, evolutionary biologist, graphic designer, fashion designer, anthropologist, inventor, social scientist, educator, research psychologist, and nutritionist. "Rules of Raugh" (a fabricated up word, as in raw) is the artist'due south comprehensive philosophy relating to objects and their usage. The primary questions addressed range over aspects of the relationship of humans to notions such every bit wear, obsolescence, adaptability, ease, progress, and expertise. The illustrations draw article of furniture designs for a house—multi-employ objects for dining areas, bedrooms, kitchens, and workrooms are rendered as specific articles with their functions distilled to the essentials. Edition of 20 copies.
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Source: https://www.zuckerartbooks.com/exhibition/77/
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