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Frankfurt.: Galerie LĂŒpke., 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].
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T.O.T. ( = Technological Oak Tree) Technischer Eichbaum.
by Wolf VOSTELL.
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TE-NE-TE. Eine mythologische Vorfuhrung.
by Lothar BAUMGARTEN.
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DĂŒsseldorf.: Konrad Fischer., 1974. Publisherâs wrappers, spine slightly browned.. (20.9 x 14.8 cm).. pp. (46). Black and white illustrations. Artistâs book influenced by the Indian tribes of South America, with whom Lothar Baumgarten temporarily lived, and much of whose early work is devoted to. TâE-NE-TâE is a ""mythologische VorfĂŒhrung"" (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.
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T/N Raffaello.
by Wolf VOSTELL.
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Frankfurt.: Edition Klaus LĂŒpke., 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].
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Taillandier par Yvon Taillandier.
by Yvon TAILLANDIER.
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Paris.: Cercle dâart., 2006. Publisherâs glossy printed boards.. (30 x 25 cm).. pp. 240. Colour illustrations throughout. Yvon Taillandierâs career is seemingly divided into two periods. The first as a writer and critic, prefacing works and monographs devoted to MirĂł, CĂ©zanne, 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.
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Taktielen en Ijzeren beelden.
by Franck GRIBLING & Theo NIERMEIJER.
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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 âLiga nieuw beeldenâ, 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 âTaktielenâ 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 Niermeijerâs drawings of his sculptures, as well as two original coal dust black relief prints by Gribling. Catalogue published in an edition of 75…
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Tangenten.
by Albrecht FABRI.
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Cologne.: Galerie Der Spiegel., 1964. Publisherâs 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 FaĂbender, folded and issued loose.
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The Tart or Miss America.
by Dick HIGGINS.
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1962. Three mimeographed typed sheets on blue paper. Folded and taped for mailing. Stamped âRichard C. Higgins, 423 Broadway, New York 13, N.Y.â. (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.
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Testi + pre-testi visuali. Una selezione di dieci testi-poemi degli anni 1974-1975.
by Carlo BELLOLI.
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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 âIl Puntoâ. Printed in an edition of 100 copies, this copy numbered and marked as an âesemplare dâautoreâ on the colophon sheet.
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Tetsumi Kudo in zusammenarbeit mit dem Berliner Kunstlerprogramm des DAAD.
by Tetsumi KUDO.
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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.
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Tezy o sztuce 1-17 1970-1972 / Theses on art 1-17 1970-1972.
by Andrzej KOSTOLOWSKI.
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_Ăłd_.: 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 _Ăłd_, 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 ArtystĂłw PlastykĂłw, 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, LĂĄszlĂł Beke in Hungary, and Klaus Groh in West Germany. In 1972, using ZPAP facilities without requesting permission from the organisation, Partum self-published âTheses on Art No 1â17â, a seminal text on conceptual art by Andrezj Kosto_owski, which remains one of the…
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Theorie einer Moglichen Gestaltung 1. (Katalog trigon 67).
by Jorrit TORNQUIST.
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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 âinvisibleâ. The dimensions of space and time were made…
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Todays Manufactures. Bottled humanism Instant Sperm.
by Tetsumi KUDO.
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(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, Musee 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 American, Paris in 1964.
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Toeval. Studium Generale 1972. Rijksuniversiteit Utrecht. Commissie vormingswerk. Maart 1972.
by (Margje DUURSMA & Frans HAKS et al).
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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 Brechtâs pamphlet Chance Imagery, three screenprints by Gerhard von Graevenitz (on fold-out sheet), François Morelletâs instructions for a multiple and proposal for a neon work, and two red dice in a plastic bag.
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Touch - Attention - Perception.
by Michael DRUKS.
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(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 Baackâsher 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. Druksâs 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…
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A Twelve Day Walk and Eighty Four Paces.
by Hamish FULTON.
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London.: Charles Booth-Clibborn / Paragon Press., 1991. Publisherâs 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, 1990â. 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.
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Two sheepdogs cross in and out of the passing shadows. The clouds drift over the hill with a storm.
by Richard LONG.
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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 â February) where he exhibited the work â204 Somerset beach stones in 17 lines of 12 stonesâ.
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Two unique works - Bankers Draft Scheck (1968) & Thenei Handtuch.
by Wolf VOSTELL.
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(Cologne)., 1968. (10.5 x 14.6 cm; 5 x 6.2 cm).. Bankerâs cheque (Bank fĂŒr 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 âDu-o Atomâ, âFeussner Bombeâ, and âLennepâ. 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 manufacturerâs name from âTheneiâ to Vostell, and adding the words âDuoâ and âTrioâ. In 1968 Vostell collaborated with Kagel on the latterâs film entitled âDuoâ.
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Typed letter, with mailing envelope and vintage photograph.
by Claes OLDENBURG.
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1963. Sheet (28 x 21.5 cm).. âJune 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.â Oldenburg has signed the letter in blue pen. Original mailing envelope with imprint of the artistâs Ray Gun Manufacturing Company. Also present is a vintage black-and-white photograph (17.5 x 23.5 cm) of an early painted ceramic âcoffee cup and saucerâ 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, âHere is another copy of the coffee cup if you can still use it. If you canât 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 inspriationâ.
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Typed letter to Hansjoachim Dietrich.
by Tomas SCHMIT.
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-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 Brechtâs âWater Yamâ or Ray Johnsonâs âThe Paper Snakeâ in return for Dietrichâs Kalender65. The letter is signed in coloured pencil by Schmit. The lower half of the sheet has the rather lengthy typed p.s or âpe-esâ to the letter, which Schmit transforms into a visual poem concerning the opening and closing of a safety pin.
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Typed letter from Leo Castello Gallery.
by (CHRISTO).
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1967. Sheet size (18.4 x 21 cm).. Typed letter signed by Kay Bearman, then working for Leo Castelli, âGentlemen: We are very sorry for the inexplicable delay in sending your requested photographsâŠ.. We do not handle the works of Christo.â Letter dated October 17, 1967.
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