Drawing inspiration from principles of mathematics and physics, Auerbach’s work straddles conceptual art, abstraction, and design. With an evocation of graphic art, this book demonstrates systems of logic pictorially. Each sheet has an array of cutouts used as spray paint stencils to create a pattern of circles and tubular pill shapes. Spray paint on plotter cut Bristol paper with cloth binding. Card inserted in the book serves as the colophon.
Edition of 10 copies.
Exhibition poster. Black silkscreen printed on white paper. Text in German. Very good condition. 34 x 24". Reference: pp. 116 - 117 AKTIONSRAUM 1 ODER 57 BLINDENHUNDE. A 1 Informationen Verlagsgesellschaft mbH, Munich, Germany. August 1971. Arte Povera. Aktionsraum 1 was a space for transgressive thought and activity in a politically hot climate, serving as an art-making stage and arena for social critique. Fittingly what remains are not the actions nor commodifiable objects, but the announcements pasted on city walls and streets; the throwaway gesture. Boetti's image in the poster: it's titled "gemelli" and the original work is a photographic postcard (10x15) that was sent out to friends by Boetti. In this image Boetti divided his person in "Alighiero" and "Boetti", two different faces of the unique person.
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 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 fabric 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 own garments as raw material to make sewn fabric collages, she evoked feelings and memories through lines, shapes and colors. Years later, Bourgeois was to go back to the house with her own family only to find the river to no longer exist, "only the trees that my father had planted along its edge remained as a witness". This 2007 book faithfully reproduces that original fabric work. Each book 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 respective titles: "The garden in Antony, 1921" and "The Bièvre River, 1951." Housed in a blind embossed slip case each book is uniquely bound with hand dyed and distressed linen.
A brown brick with a white label attached and a grey/green label with white print wrapped around the brick. The numbers 22,11,30 are etched in the brick. Signed and numbered by the artistin an edition of 50. Text is in French by Antonin Artaud. Fireproof brick.
Yves Klein | Dimanche, le journal d'un seul jour- November 27, 1960 | 1960 | Zucker Art Books
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Wolfgang Laib Untitled Beeswax slab, 1990
10 3/8 x 12 3/4 in. (26.4 x 32.4 cm)
Basel, Galerie Buchmann
Solid Beeswax slab. Issued in original cardboard box, lid printed with photograph of one of many of Laib's beeswax slabs. Artist’s multiple, published in an edition of 40 copies, signed, numbered and dated in pencil by Wolfgang Laib on the bottom of cardboard box.
Laib began working in beeswax in 1988 and has used removable wax plates to create wax rooms for exhibitions at the Museum of Modern Art, New York.
Wolfgang Laib | Untitled Beeswax slab | 1990 | Zucker Art Books
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Le Corbusier Unité, 1965
Contains 20 aquatint etchings on Rives wove paper produced between 1963 and 1965.
Printed by Crommelynck, Paris, and published by Alain C. Mazo, Paris.
The "Unité" etchings celebrate organic arrangements in compositions that simply and masterfully blend color, line, and form. One of the artist’s central graphic works, the aquatints showcase his belief that “color is an immediate and spontaneous expression of life.” These images incorporate his notions regarding still life stemming from the Purism movement, as well as depictions of women.
15 signed color plates: nos. 1, 3-11, 14-16, and 18-20. One unsigned color plate no. 2, and four B/W plates, unsigned.
Piero Manzoni Piero Manzoni: Life and Work, 1969
7 1/8 x 6 1/8 in. (18 x 15.5 cm)
Softcover, mylar, bound by plastic clip. Except for the title page, the book is blank. Signed by Jes Petersen who originally published it in 1963. Reference: p. 265, "Piero Manzoni", published by Priero Editore, Milan, 1989; 20 Jes Petersen Germany artist’s book. Edition of 100 copies.
Piero Manzoni | Tentoonstelling nul : Stedelijk Museum Amsterdam : 9-25 Maart 1962. | 1962 | Zucker Art Books
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Henri Matisse Cahiers d'Art, nos. 3-5, edition deluxe, 1936
15 1/2 x 22 1/4 in. (39.4 x 56.5 cm)
This special issue, in excellent condition, contains 3 parts:
1.) Thirty-eight illustrations by Matisse, mostly of female subjects, 36 of them tipped in on special paper; a text by Christian Zervos,“Automatisme et espace illusoire”; and a poem by Tristan Tzara “À Henri Matisse.” Printed on Montval paper.
2.) Pochoir cover after an early paper cut-out, Matisse’s first use of paper cut-outs for cover illustration. The cover was folded and wrapped around the book; however this example has an uncut, unfolded color cover with a wide margin on Arches Aquarelle paper, 56.5 x 40 cm.
3.) An aquatint, loosely inserted, L’Homme endormi, 1936; image: 24.8 x 17.5 cm, edition of 150; signed in pencil, numbered 33/150. Duthuit. Cat. Rais. Oeuvr. Illustr., n. 64, Duthuit. Oeuvre Gr., n. 771
Wrappers, frontispiece (La Chute d’Icare) and title page illustrated by Matisse. Full-color and black and white illustrations by Matisse throughout. Green illustrated dust jacket after Matisse collage over still boards, split at spine. Frontispiece and title page lithographs uncommonly fine, with no offsetting. w/ 2 color pochoir prints
Henri Matisse | Verve issue #13 | | Zucker Art Books
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Barry McGee Drypoint on Acid, 2006
7 3/4 x 6 1/4 in. (20 x 16 cm)
Portfolio of 10 prints in a variety of printmaking techniques and collaged silkscreen additions; in a wood box with silkscreen on lid.
Published by Edition Jacob Samuel, Santa Monica, CA.
These images employ collage elements from the artist’s vast collection of old industrial printed paper, which he embellishes with his own images depicting those who live on the margins of society.
The book tells the story of the artists Siberian journey with a soviet truck, ZIL 130, and his White Cube Gallery Novosibirsk that was tranported on the rear of the truck where he opened a gallery in many towns he visited. The photographs document the series of break downs that occured along the way. edition of 100 plus 10 Deluxe copies with original tipped in photographs.
Mike & Doug Starn Ani-San, samukaro? Omae samukaro?, 2007/2008
40 pages with 19 B&W Illustrations, each wrapped in a unique vintage kimono fabric each having one photograph from the book on gampi paper with encaustic, signed and numbered housed in a bass wood box. A hand crafted bass wood Japanese box houses a unique signed photograph; inkjet on gampi paper, hand coated with encaustic, under which the book is found wrapped in an indigo vintage kimono fabric. The package is tied with red and white cords, each one with a small paper flag inscribed with a question from the title. The story reveals the significance of the book wrapped in a threadbare kimono under the snow. Each book is hand-made, thread bound using traditional Japanese techniques, with 19 photo- micrographs of snow crystals that were shot by the artists during snowstorms between 2004 and 2006. The images are printed on gampi paper, the back of each image is hand-painted with white acrylic and then finally the image is brushed with a single stroke of varnish. A signed colophon is inside the box.
Mike & Doug Starn | Ani-San, samukaro? Omae samukaro? | 2007/2008 | Zucker Art Books
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Hiroshi Sugimoto In Praise of Shadows, 2000
**Framed set of this portfolio of 7 lithographs/ 3 Plates / 4 colors. For each photograph, a candle was placed in a dark, draughty room, and a single exposure was taken over several hours as the wick burned from top to base, reducing the candle to nothing. The title is taken from Junichiro Tanikazi's 1933 essay on Japanese aesthetics, "In Praise of Shadows". This essay has become something of a manifesto for generations of Japanese artists. Tanizaki says that the Japanese "find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates."
Hiroshi Sugimoto | In Praise of Shadows | 2000 | Zucker Art Books
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Hiroshi Sugimoto Sea of Buddha, 1997
48 black and white photographs, title pages and impressum folded into a Leporello (accordion style) and attached to 2 polished aluminium cover plates, contained in a silk-covered slipcase. Design by Takaaki Matsumoto.