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.
John Baldessari The Telephone Book (With Pearls), 1988
8 1/4 x 5 3/4 in. (21 x 14.8 cm)
The book features a series of cropped movie stills depicting either a telephone or pearls. Signed and dated by the artist in pen. 62 pages, unpaginated, including 43 black and white illustrations, some with color spots. Gent, Belgium: Imschoot, Uitgevers for IC, 1988. First Edition. 8vo, wraps
John Baldessari | The Telephone Book (With Pearls) | 1988 | Zucker Art Books
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Miroslaw Balka Entering Paradise, 2003
15 3/4 x 15 1/8 in. (40 x 38.5 cm)
Bound book of 14 hard and soft ground etchings on natural Gampi and Rives de Lin papers. Text by Balka, letterpress. The artist paid homeless people on the streets of California to allow him to imprint their bare feet (mostly toes) on a copper plate to make these prints. The result is a startling collection of strong but subtle images that reflect the frailty of human existence. The edition is limited to 25 copies: 1–10 are bound books; numbers 11-25 are portfolios of loose pages. There are three sets of artist’s proofs. Published and printed by Edition Jacob Samuel, Santa Monica, CA. Edition of 20 copies
The book is a work of psychogeography, detailing a period in Debord's life when he was in the process of leaving the Letterists, setting up Lettrism International, and showing his 'first masterpiece', Hurlements en Faveur de Sade (Howling In Favour Of Sade), a film devoid of imagery that played white when people were talking on the soundtrack and black during the lengthy silences between. Credited to Guy-Ernest Debord, with structures portantes ('load-bearing structures') by Asger Jorn, the book contains 64 pages divided into three sections. The first section is called 'June 1952', and starts with a quote from Marx: Let the dead bury the dead, and mourn them.... our fate will be to become the first living people to enter the new life. The second section, 'December 1952', quotes Huizinga, and the third, 'September 1953', quotes Soubise. The work contains two separate layers. The first is printed with black ink, reproducing found text and graphics taken from newspapers and magazines. The second layer is printed using coloured inks, splashed across the pages. These sometimes connect images and text, sometimes cover them, and sometimes are seemingly unconnected. The black layer contains fragments of text, maps of Paris and London, illustrations of siege warfare, cheap reproductions of old masters and questions such as 'How do you feel about the world at the moment, Sir?' The coloured layer contains freefloating ink splashes, lines created by a matchstick loaded in ink, and a Rorschach inkblob.
Guy Debord & Asger Jorn | Memories | 1959 | Zucker Art Books
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Artistes Divers CONTEMPORARY SMS, 1968
Released in 1968, the SMS portfolio represented a collaboration between some of the most important artists of the 20th century. Centered around a loft on Manhattan's Upper West Side rented and maintained by the American Surrealist William Copley, SMS (a coy abbreviation for "Shit Must Stop") was an open-ended collective that epitomized the community ethos of the late 1960s. Frequented by artists, curators, performers and composers both accomplished and aspiring, Copley's loft became renowned for its utopian morale and hospitable working conditions, which included "a buffet perpetually replenished by nearby Zabar's Delicatessen, an open bar, and a pay phone with a cigar box filled with dimes."
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 43/50 by the artist. Text is in French by Antonin Artaud. Fireproof brick.
Robert Filliou | Je Meurs Trop | 1977 | Zucker Art Books
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Ugo la Pietra AD OGNUNO LA PROPRIA REALTA"To each his own Reality", 1972-74
16 x 12 in. (40.5 x 30.5 cm)
A conceptual artists book with original photographs throughout, published by Jalik & Colophon in an edition of only 30 copies which were never completed, this is copy #1/30 and comes directly from the Artist. 40,5 x 30,5 cm. In the Sixties Ugo La Pietra was one of the first artists to use photography as a medium for artistic operations. His images, often composed and integrated by written and manual intervention, are the result of a careful exploration of the contradictions of life and living. These images, starting from the urban environment degraded and alienating, change the perspective, the perception and our way of life, to make out beauty, possibility of intervention and change, happiness.
Ugo la Pietra | AD OGNUNO LA PROPRIA REALTA"To each his own Reality" | 1972-74 | Zucker Art Books
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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.
Miller & Shellabarger | Butter Book, 2006 (Jewel) | 2007 | Zucker Art Books
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Bruno Munari Libro Illeggible N.Y.1, 1967
8 5/8 x 8 7/8 in. (22 x 22.5 cm)
This is a unique book designed by Bruno Munari especially for The Museum of Modern Art. It is one of a group of books in which visual discourse, rather than a text composed of words, carries the thread of the story... -- from publisher's statement. Text in Italian and English. This is the absolute first copy in the edition, #1 of 644.
Bruno Munari | Libro Illeggible N.Y.1 | 1967 | Zucker Art Books
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Bruno Munari De Kwadraat-Bladen - The Quadrat-Prints - Le feuilles-Cadrat - Die Quadrat-Blatter. An unreadable quadrat-print by Bruno Munari., 1953
Hilversum. Jong & Co. 1953. 4to. Unpaginated. Wrappers. Complete with printed envelope. Designed by Munari, and published by De Jong as one of their Quadrat-Print limited edition series, this artists' book has pages made of four different types of paper, which are then cut into various designs. Produced in irregular intervals beginning in 1953, Kwadraat Blad or Quadrat Print was a series of printing experiments executed by Steendrukkerij De Jong & Co. in Hilversum, Netherlands. Contributers included Buckminister Fuller, Willem Sandberg, Wim Crouwel, Marc Chagall, Bruno Munari, Dieter Roth and countless others. This issue, which Munari himself called The Unreadable Book, features red and white paper geometrically cut up. The only text in the book is a statement by the publisher. The meaning in the book is made up by the interplay of the shapes, colours, and formats.
Roman Opalka | Opalka 1965/1-infinito-Travel Sheets | 1972 | Zucker Art Books
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Eduardo Paolozzi General Dynamic Fun., 1965-70
15 1/8 x 10 1/4 in. (38.5 x 26 cm)
Paolozzi's canny alchemy is vividly apparent in General Dynamic F.U.N, a series of fifty screenprints and photolithographs created between 1965 and 1970. Here Paolozzi employs the technologies of mass-reproduction and gorges on its idols – the household names and familiar faces of consumer advertising, high fashion and Hollywood. The prints, which bear idiosyncratic titles such as 'Totems and Taboos of the Nine-to-Five Day'; 'Twenty Traumatic Twinges' and 'Cary Grant as a Male War Bride', do not occupy a rigid sequence but can be assembled and viewed in any order. For Paolozzi, the modern age, exposed as ephemera, is a necessarily fragmented collision of visual stimulus and influence, and his work is a 'health warning for an uncreative and thriftless society'.
Martin Parr | Fashion Box | 2005 | Zucker Art Books
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Giuseppe Penone Svolegere la propria pelle (Developing One's Own Skin), 1970/71
8 3/8 x 8 1/2 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 sheet of 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, water, earth, rock, walls, trees, dogs, handrails, windows, roads, hair, hats, handles, wings, doors, seats, stairs, clothes, books, eyes, 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.
Giuseppe Penone | Svolegere la propria pelle (Developing One's Own Skin) | 1970/71 | Zucker Art Books
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Jack Pierson All of a Sudden, 1995
Quarto, unpaginated, colored illustrations throughout. Illustrated paper over boards. Design Jack Pierson and Tony Morgan. Mint copy. First and limited edition. One of 80 (#3) numbered and signed copies with original signed C-print. Print loosely laid in. In publisher's printed paper over boards slipcase.
Artist Book with original collages. Number 2 of 20 copies. The book documents all art works Lukas Pusch made in order by Austrias most tradiitional art fair located in the Viennese Hofburg. Puschs artworks were censured and a big scandal ensued.
Lukas Pusch | Kaiserwalzer | 2009 | Zucker Art Books
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Lukas Pusch Afrika, 2008
17 3/4 x 14 x 2 in. (45 x 35.5 x 5 cm)
This book documents the artists time in one of the biggest slums in Kenya, Africa with dozens of collages and drawings. The book also includes the radical l art for l art text „Schlagt die Frauen und prügelt die Kinder - Beat the women and flog the children" (Each deluxe edition is in a zebra cloth covered box with a unique drawing. Edition of 100 copies with 10 deluxe copies and 5 APs, this copy is 1 of the 5 AP. Signed, numebered and in a special box
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.
Walid Raad Oh God, he said, talking to a tree, 2010
11 1/4 x 8 1/4 in. (28.7 x 21 cm)
Limited Edition in 29 copies all numbered and signed by Walid Raad. 29 photograph of bombing during Lebanon war, taken between April 10, 2002 and August 8, 2006. The date and place of the bombing are shown each time in tiny letters in the lower right part of the page. The height of the letters corresponds to the size of a standing man, thus giving the scale of the explosion. Each book is covered with a wrapped, title in screen-printing grey. Inside the folder, an original photography corresponding to one of the 29 bombing. Each photograph are different. Digital print, numbered 1/1. Franck Bordas made the print on Hahnemulhe paper photo rag 300g.
Walid Raad | Oh God, he said, talking to a tree | 2010 | Zucker Art Books
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Gerhard Richter Stammheim, 1995
This limited edition reproduces in facsimile each of the twenty-three Richter works executed on pages of the book Stammheim. Der Prozess gegen die Rote Armee Fraktion by Pieter H. Bakker Schut – the story of the alleged simultaneous suicides in 1977 of three German members of the Red Army Faction in Stammheim prison. The images here are abstract, yet closely historically and thematically linked to the artist's 18. Oktober 1977 series. They affirm Richter's continued search for a means to communicate historical themes beyond the physicality of the paint surface, his refusal to completely dispense with metaphor, his belief that art can express profound mourning while remaining, according to Richter, "the highest form of hope".
Stan Shellabarger | Light Switch Book | 1998-19999 | Zucker Art Books
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Kiki Smith Still Life, 2001
6 1/4 x 6 7/8 in. (16 x 17.5 cm)
Visual artist Kiki Smith and writer Lynne Tillman collaborate in this artist’s book designed in the spirit of a small and intimate medieval book of hours. The work consists of twenty-four color photographs in dialogue with the sentences of a short prose piece titled "The Lost City of Words." Sentiments of loss, memory, and the ephemeral nature of life are juxtaposed with objects found in Smith's studio: sculptural works-in-progress, luminescent glass bulbs, dead birds, items found in a makeshift bedroom. The book is elegantly presented in a case of molded plastic and closes with a clasp in wrought metal designed by Ronan & Erwan Bouroullec. Edition of 60.
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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Rudolf Stingel Rudolf Stingel:Instructions, 1989
First Edition 8vo. Stapled Printed Self- Wrappers. FIRST Artists Book. Near Fine. np (24pp) profusely illustrated in b & w. Text in English, Italian, German, French, Spanish and Japanese. This is an intriging twenty-four page artist's book cum catalogue produced by Rudolf Stingel in conjunction with his 1989 installation at Milan's Massimo De Carlo gallery -his third one person show. In it, the noted Italian born, New York based contemporary artist provides the reader with detailed photographs and instructions in six languages on how to create paintings identical to those he executed for the exhibition. A handsome copy of this exceedingly scarce conceptual item (and the first monographic publication on Stingel).
Rudolf Stingel | Rudolf Stingel:Instructions | 1989 | Zucker Art Books
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Shuntaro Tanikawa Picture Book (Ehon), 1956
10 x 9 5/8 in. (25.5 x 24.3 cm)
First edition. Limited edition of 300 copies. 20 tipped-in offset photographs (incl. one on front cover). Japanese text. Quarto. Original cloth binding. Unpaginated, 44 pp. Tokyo, Matoba Shobo, dated: Showa 31 [i.e. 1956].
Tanikawa Shuntaro (b. 1931) is possibly Japan's most highly regarded living poet. He has written over sixty books in addition to translating Charles Schulz's Peanuts and the Mother Goose rhymes into Japanese. This is his fourth book of poetry, which Tanikawa illustrated with his own photographs and privately published. Extremely rare. Unrecorded. No copy in OCLC. No copy in ALC.
Victor Vasarely | Niolc-c, Hexa-Fra, Del- Kelet, Koska-Sin | 1975 | Zucker Art Books
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Rachel Whiteread What Man is Really Like, 2010
Rachel Whiteread photographs
Ingo Schulze text
Naoto Fukasawa case
In a monotone voice, the narrator of “What Man is really like” describes the conditions and sorry state that have led to the death of his friend Andreas, a playwright and alcoholic, holed up in a cold and miserable Berlin flat. He records every minute detail of his friend’s behavior, including the tremors of his looming depression. For Ingo Schulze, the abandoned cardboard boxes photographed by Rachel Whiteread epitomize the bleak and sorry state of his characters and the confusion of his generation as a whole.
Each one of the 7 modules making up the piece presents a flat cardboard box before it has been assembled. Of varying sizes, Rachel Whiteread’s photographs are put in hollow living spaces that match their format. The text is printed on both sides of a translucent support. Each language models its own square block of type that is contained within a whiter square in reference to the casing designed by Naoto Fukasawa.
Rachel Whiteread is one of the most outstanding British artists of her generation. She was born in London in 1963. She reached distinction in 1993, the year she was awarded the prestigious Turner Prize, with her monumental sculpture entitled “House”, a life-size replica of a house in the East End of London that was about to be demolished and which became the object of a fierce debate all the way to its final destruction in 1994. Over the years, she has undertaken numerous public artworks in both Europe and the United States, her famous “Water Tower” re-installed this year on the roof of the MOMA in New York. In 1997, she represented the United Kingdom at the Venice Biennial. Her work has been exhibited widely, most notably with a show at the Tate Modern in 1995 and at the Tate Britain in 2010.
Born in Dresden (former East Germany) in 1962, Ingo Schulze now lives in Berlin. His writings, translated into twenty-four languages, have won a number of awards. His New Lives (Knopf, 2008) was heralded by German literary critics as the much-awaited novel to treat the “turning point” after 1989-1990 with the collapse of East Germany and Germany’s reunification. “I think of literature as seeing the world in a drop of water,” writes Ingo Schulze—not surprisingly considering his penchant for the minutest incident, his attention to detail, his sense of the tragicomic and his laconic style that rings like a homage to the short story writing of Richard Ford and Raymond Carver.
Naoto Fukasawa was born in 1956 in Yamanashi, Japan. He worked as a designer for Seiko-Epson until 1988 and for ID-two in San Francisco from 1989 to ’96. He returned to Japan in 1996 where he directed the team of IDEO’s Toyo firm. In 2003, he opened his own business Naoto Fukasawa Design in Tokyo. Since 2001, he has been a consultant for the company Muji. Throughout his career, he has followed his own personal ‘Without Thought’ method, grounding his inspiration in immediate memory and the spontaneous gesture. In 2006, he founded Super Normal with Jasper Morrison. In 2007, he was given the title Honorable Royal Designer for Industry by the Royal Society of Arts.
11 original signed photographs (Lambda Prints)
Case made of polonia wood
33 x 33 x 3,3 cm
Text in English and French
Limited edition of 40 copies + 8 H.C
Graphic design: Olivier Andreotti
Rachel Whiteread | What Man is Really Like | 2010 | Zucker Art Books
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Christopher Wool Four Short Stories(4 parts), 2004
19 x 13 in. (48.3 x 33 cm)
A set 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 paper. Published to benefit the Camden Arts Center in London. Edition of 65 copies.
Christopher Wool | Four Short Stories(4 parts) | 2004 | Zucker Art Books
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Christopher Wool East Broadway Breakdown, 2003
11 3/4 x 9 in. (29.9 x 22.9 cm)
Berlin: Holzwarth Publications
Between 1994 and 1995, Christopher Wool shot a series of photographs in downtown New York City that he named
after a street on the Lower East Side, the neighborhood where he works. Taken at night using a 35 mm camera, the pictures feature the city’s signature streets with dilapidated storefronts, fences, and ramshackle staircases leading up to anonymous spaces. First edition, first printing. Limited edition of 160
copies with an original 10.2 x 15 cm black and white Type-C print
by Wool, enclosed in a Mylar sleeve and archival white
envelope, and stamped in black ink (Christopher Wool –East Broadway Breakdown. Special Edition) on the
title page; housed in a TrueCore (Light Impressions) archival box with the same stamp in black ink on the top cover. The print, which corresponds to one of the 160 reproductions in the book, is signed, dated 2003, and stamped on verso (Christopher Wool–East Broadway Breakdown. Special Edition).
Copy no. 107 of 160
Christopher Wool | Untitled Photodruck | 1994 | Zucker Art Books
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Christopher Wool Black Book, 1989
First published artist book by Wool. The complete set of 17 prints, 1989, on smooth wove paper, with title page and justification, signed on the justification and numbered 345/350, published by Thea Westreich, New York, bound (as issued), in very good condition, with original black paper covers with no faults. *This was his FIRST published book, before this he did make a few self published photocopy books in very small editions.