The Armory Show 2017

Arman
Accumulation, 1973
9091-sc

(45 x 30 x 8.3 cm)

Rubber stamp print with sixteen rubber stamps in a wood and plexiglas box, 1973, signed in pencil, numbered . Edition of 100 (there were also 10 artist's copies), co-published by Edition Schellmann and John Gibson, Munich and New York, a few minor scratches and wear to the wood and plexiglas, otherwise in very good condition

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Tauba Auerbach
Spray Through(Tubes), 2011
4333-BK

16 x 13 3/4 in. (40.6 x 34.9 cm)

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.

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Robert Breer
Image Par Images, 1955
4388-BK

4 7/8 x 3 5/8 in. (12.5 x 9.1 cm)

Unpaginated "flip-book" consisting of approx. 100 leaves printed recto only with simple abstract forms and shapes, that, when flipped, create an animated sequence of abstract images emphasizing movement and playfulness. Published in conjunction with a groundbreaking exhibition "Le Mouvement" at the Galerie Denise René in 1955, the first Kinetic Art show in Paris. Breer (1926-2011), known as the "kinetic poet of the avant-garde", was renowned for his spearheading efforts in animation, utilizing both abstract as well as representational images throughout a career of over 50 years. He worked with avant-garde movements of his time and was associated with high modernism, fluxus, pop, and other genres.

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Pia Camil
Xiuquilla/Blue milk weed, 2017
9561-BK

19 5/8 x 19 5/8 in. (50 x 50 cm)

Hand sewn cotton leporello book, with screenprinting, in cloth box with colophon.
Published by Zucker Art Books, NY. Edition of 8 variants, with 2 AP.
This is copy number 3

Each book is handmade from repurposed fabrics the artist found in Mexico City. Camil’s interventions include cutting shapes common in cloth making such as sleeves, collars, torsos, and recombining them in a colorful array, hand sewn into a double sided sequence. She designed small buttonholes in between the panels so the work can be hung as a banner as well, choosing either side. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which even includes works to be worn or walked on.

Pia Camil (b. 1980) lives and works in Mexico City. She has a BFA from the Rhode Island School of Design and an MFA from the Slade School of Fine Art, London. Her work has been exhibited internationally, with recent solo-exhibitions including A Pot for a Latch, New Museum, New York (2016); Skins, Contemporary Arts Center, Cincinnati (2015); The Little Dog Laughed, Blum & Poe, Los Angeles (2014); and Cuadrado Negro, Basque Museum Centre for Contemporary Art, Vitoria-Gasteiz, Spain (2013).

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Raymundo Colares
Gibi, 1971
9592-OR

13 3/8 x 6 5/8 in. (34 x 17 cm)

Black and white cut paper bound in a triangle that opens up to a square. Handmade by the artist.

Signed and dated on the back.

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Marcel Duchamp
Cahiers'Art Vol XI -Coueurs Volants (Floating Hearts), 1936
2207

9 5/8 x 12 3/8 in. (24.5 x 31.7 cm)

The art magazine edited by Christian Zervos featured the Large Glass in 1936. The cover consists the contrast of two complementary colors, that is, red and blue. Staring at this cover,the blue color part is sunk and the small heart at center floats in blue back. The pursuit of such a illusional visual eftect was Duchamp's life-time theme.

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Robert Filliou
Hand Show, 1967
1909

11 3/4 x 9 3/8 x 1 1/2 in. (30.1 x 24.1 x 4 cm)

Wood box with sliding plexiglass lid comprising a folder containing 25 photographic reproduction sheets on card, showing in close up the left hand of various artists including Andy Warhol, John Cage, Christo, Roy Lichtenstein, Arman, Jasper Johns, Ray Johnson, Alison Knowles, and others. The plexiglass cover is imprinted with a silkscreened palm covered with annotations in red. Text by artist in German. Published by Edition SABA-Studio, Villingen, Germany. In perfect condition; increasingly scarce as each contribution belongs in the oeuvre of the respective artist. Signed and numbered in red inside back cover. Edition of 150 copies

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Robert Filliou
Je Disais A Marianne, I was Telling Marianne, 1965
4833-BK

11 x 11 x 2 3/4 in. (28 x 28 x 7 cm)

Edition Mat Mot n. 2

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Wolfgang Laib
Untitled Beeswax slab, 1990
4485-BK

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.

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Enzo Mari
Variazione no 719, 1963
4923-PR

19 7/16 x 19 7/16 in. (49.5 x 49.5 cm)

Screen print on brown paper.
Proposed edition of 50 copies; only four were printed, each unique with different color combinations. Signed, dated and designated "Prova" meaning proof.

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Enzo Mari
REFLEX, 1962
7423-SC

3 1/8 x 3 1/8 x 3 1/8 in. (8 x 8 x 8 cm)

Melamine, silvered glass
In exploration of visible dilatations of a three-dimensional enclosed space, a reflecting plate is placed diagonally in the interior of a cube, which can be seen through openings in the sides. The specular part, either symmetrically or according to the visual angle, redoubles the surrounding space one or more times. Particular kinetic properties can be conferred on the object by movement on the part of the viewer.

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Enzo Mari
Cube 3018 A, 1959
7273-SC

2 3/4 x 2 3/4 x 2 3/4 in. (7 x 7 x 7 cm)

Relationships between content and containor. Relating a fixed volume to a module for comparison increases perception of its consistency. Opaque white resin sphere in clear resin. Published by Edizioni Danese, Milano in an edition of 50, this one in excellent condition. These cubes recall the geometric compositions of "historic abstractionism" of Kazimir Malevich

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Enzo Mari
Cube 3018 B, 1959
7413-SC

2 3/4 x 2 3/4 x 2 3/4 in. (7 x 7 x 7 cm)

Relationships between content and containor. Relating a fixed volume to a module for comparison increases perception of its consistency. Cast iron sphere in light blue resin. Published by Edizioni Danese, Milano in an edition of 50, this one in excellent condition with original box. These cubes recall the geometric compositions of "historic abstractionism" of Kazimir Malevich.

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Enzo Mari
Ogetto a Composizione Autocondotta (Self-composed object), 1959
7253-SC

10 x 10 x 1 15/16 in. (25.5 x 25.5 x 5 cm)

Wood, Glass and paint; signed in ink.
Publisher: Galleria del Deposito, Geneva. Edition of 100.
Using a series of three related and repeated three-dimensional elements of squares, triangles and rhombi with equal bases inside a square space with one rectangular bar, Enzo Mari produces a natural phenomena engaging the viewer's participation. The rotation of the square produces nearly infinite combinations as the pieces fall into place.
References: “Enzo Mari, modelli del reale”, Mazzotta, Milan, 1988, p. 46
Avossa Antonio and Francesca Picchi, “Enzo Mari, il lavoro al
centro ”, Electa, Milan, 1999, p. 73

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Enzo Mari
OGETTO A COMPOSIZIONE AUTOCONDOTTA (Self-composed object), 1959
8472-SC

10 x 10 x 1 15/16 in. (25.5 x 25.5 x 5 cm)

Wood, Glass and paint; signed in ink.
Publisher: Galleria del Deposito, Genoa. Edition of 100.
Using a series of three related and repeated elements of squares, triangles and rhombi with equal bases inside a square space with one rectangular bar, Enzo Mari produces a natural phenomena engaging the viewer's participation. The rotation of the square produces infinite combinations.
References:
"Enzo Mari, modelli del reale", Mazzotta, Milan, 1988, p. 46
Avossa Antonio and Francesca Picchi, "Enzo Mari, il lavoro al
centro ", Electa, Milan, 1999, p. 73

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Enzo Mari
OGETTO A COMPOSIZIONE AUTOCONDOTTA (Self-composed object), 1959
8482-SC

10 x 10 x 1 15/16 in. (25.5 x 25.5 x 5 cm)

Wood, Glass and paint; signed in ink. Publisher: Galleria del Deposito, Genoa. Edition of 100. Using a series of three related and repeated elements of squares, triangles and rhombi with equal bases inside a square space with one rectangular bar, Enzo Mari produces a natural phenomena engaging the viewer's participation. The rotation of the square produces infinite combinations. References: "Enzo Mari, modelli del reale", Mazzotta, Milan, 1988, p. 46 Avossa Antonio and Francesca Picchi, "Enzo Mari, il lavoro al centro ", Electa, Milan, 1999, p. 73

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Dieter Roth
Book HB (2. Aufl.), 1973
9451-BK

15 x 15 in. (38 x 38 cm)

24 blue and orange hand-cut sheets with slots at 90, 75, and 60 degrees. With the 38cm square format, Roth goes back to smaller sized paper he started using in the early 1960s. This is copy 7 of the proposed edition of 25, signed and dated on title page.

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Dieter Roth
Gewürtzfenster Spicewindow, 1971
1615

61 3/4 x 30 3/4 x 2 3/4 in. (157 x 78 x 7 cm)

The work consists of five individual windows mounted side by side in a wooden frame, each hinged allowing both sides to be seen. The upper surface of each frame is fitted with a metal handle which can be opened and were used to fill the frames with spices or to smell them more intensly. Each of the five frames contains a variety of spices in ever-different layers, although in some cases a whole window is filled only with one spice. They produce a structure reminiscent of the strata of the earth, or of overlapping landscapes extending into the distance.

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Dieter Roth
Sehr Kleiner Gartenzwerg, 1969
4454-SC

7 3/8 x 2 3/4 x 2 3/4 in. (19 x 7 x 7 cm)

Unique sculpture Plastic garden gnome encased in chocolate. Signed “Diter Rot” With original shipping carton addressed to René Bloch.

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Dieter Roth
Stamp Box, 1968
1207

11 x 11 x 2 3/4 in. (28 x 28 x 7 cm)

12 rubber stamps, 2 ink pads black and red ink. Instructions by Karl Gerstner and dieter rot on doublesheet. 28 x 28 x 7 cm in box made by workshop Galerie Der Spiegel, Cologne. Published by Tam Thek editors K. Gerstner and D. Spoerri Dusseldorf. Number 23/111 and signed. (announced 1965 catalogue 'edition mat mat'). DR. CW. 20 # 34.

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Dieter Roth
Book AC, 1964
4363-BK

15 15/16 x 15 15/16 in. (40.6 x 40.6 cm)

24 black and white sheets with die-cut rectangular slots all at 90 degrees in various opening sizes (0.2, 0.5, 1.0, 1.5, 3.5, and 6.5 cm).
Published by Ives-Sillman, New Haven, CT.
The sheets may be rearranged by color, orientation, and sequence resulting in various compositions. Signed in ink on the title page and numbered. Copy 61 of 250, signed Diter Rot.
A mint copy housed in the original publisher's shipping carton with edition number and the owners name inscribed on the cover by Dieter. The original owner was a student of Dieter’s at the Rhode Island School of Design.

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Dieter Roth
Book BB, 1964
4553-BK

16 3/4 x 16 7/8 x 1 1/8 in. (42.8 x 42.9 x 3 cm)

Portfolio of 20 red and green sheets with hand-cut slots of varying sizes. Sheets may be rearranged by the viewer as desired resulting in varied combinations.
Published by Edition MAT, Koln.
This is copy 29 of the proposed edition of 50, signed and dated on title page.

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Dieter Roth
bok 2b, 1961
928

12 5/8 x 12 5/8 in. (32 x 32 cm)

Approx. 50 pages, letterpress on double sheets, monotype setting, spiral binding.

Printed by Prentsmioja Jons Helgasonar, Reykjavik.

Published by forlag ed, Reykjavik.

100 copies numbered and signed; approx 10 copies destroyed; this is copy 74.

Signed and dated Reykjavik, 1961. DR. CW. 20 # 8

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Dieter Roth
book aa, 1960
4407-BK

15 x 15 in. (38 x 38 cm)

18 black and white sheets with hand-cut rectangular slots of different sizes. When the sheets are rearranged by viewer, the visual possibilities seem endless.
Published by Edition MAT, brainchild of Daniel Spoerri and Karl Gerstner. The idea of MAT editions was to take an original art piece from an artist and reproduce it.
This is the copy no. 27, signed with the artist’s fingerprint and dated Sept. 60.
DR. CW. 20 # 4.

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Dieter Roth
book e, 1960
4408-BK

15 x 15 in. (38 x 38 cm)

22 black and white sheets with different cut out shapes, including trapezoids. Hand-cut slots at 75, 80, 87, 88, 89 and 90 degrees in various sizes. Hand written colophon by artist with an impression of his fingerprint. Copy 12 of 25. In his Collected Works vol. 20, Roth identifies only 20 copies completed.

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Sarkis
Blackout VII Italian, 1975
7992-OR

14 1/4 x 12 in. (36.5 x 30.5 cm)

Bronze plate and black plastic. Installation for the solo exhibition "Metal 2 BLACKOUT 7", Cenobio Visualita' Milan. Sarkis Zabunyan, known as Sarkis, was born in Istanbul in 1938. He is a Turkish-born Armenian conceptual artist living in France. His family moved from Sivas to Istanbul. Sarkis studied at the St. Michel French High School and got his degree from Mimar Sinan University. He decided to use his Christian name Sarkis in his professional artistic life, and moved to Paris in 1962 after winning the Paris Young Artists? Biennial Prize. One of the leading conceptual artists, Sarkis has returned to his native Turkey many times since the 1980s to exhibit his work. He has participated in the Istanbul Biennial. Since the 1970′s, Sarkis has used installation, photography, watercolor and video to bring together the legacies of art and cinema with the intellectual traditions of East and West. His art explores issues of presence and absence, place and identity, permanence and transience. Drawing on the mystical traditions of the East, he is particularly interested in the relationship between time and memory, and emphasizes the temporary nature of matter and experience. He was the curator of the last ever Fureya Koral exhibition when ceramic artist Koral was still alive. As a professor at Strasbourg Beaux Arts, Sarkis has trained young Turkish artists including Su Yücel and Serhat Kiraz. Sarkis′s exhibition, A Milestone, was curated by Ali Akay, (May 2005) at the Akbank Art Gallery in Istanbul. The gallery devoted all of its six floors to the Sarkis. Apart from Turkey and France, Sarkis has exhibited his work in over three dozen countries, including the USA, Germany, India, Australia, China, Japan, Mexico and Brazil. Sarkis′s motto is "Anılarım Vatanımdır" (My Memories are My Country).

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