artists books (Broodthaers-Cavalieri)
A Voyage on the North Sea (1973)
15.0 x 17.5cm, 38pp, untrimmed, pages numbered verso, printed offset iin an edition of 1100 copies, 100 of which numbered in Arabic numerals and signed by the author and acompanied by a 4’15” silent film.
“…A book suggest-ing image as function. A book suggesting the text as function. More than a theory, the subject of this proposition refelcts a simple image of the frustration that rules the social condition of today, for example this year. Perhaps I should add that ‘le sujet brille’. 28-’74 M.B.” Gilissen p. 46.
Drucker, Johanna, 1995, The Century of Artists’ Books, Granary Books, NY.
Glasmeier, Michael, 1994, Die Bücher der Künstler: publikationen und Editionen seit den sechziger Jahren in Deutschland, Institut für Auslandsbeziehungen, Edition Hansjörg Mayer, Stuttgart.
Glissen, Maria 1982, Marcel Broodthaers, Catalogue of Books,’1957-1975, Galerie Michael Werner, Cologne; Marian Goodman Gallery, NY; Gallerie Gillespie, Laage; Salomon, Paris.
Grahame, Noreen 1991, Artist’s Books – The Catalogue, Grahame Galleries and Editions, Brisbane.
Guest, Tim and Celant, Germano 1981, Books by Artists, Art Metropole, Toronto.Jamar, Jos 2001, Complete Graphic Work and Books, Galerie Jamar, Antwerp.
Moeglin-Delcroix, Anne, Dematteis, L, Maffei, G & Rimmaudo, A, 2004, guardare/raccontre/pensare/conservare (looking. telling. thinking. collecting) four direction of the artist’s book from the Sixties to the present, Casa del Mantegna, Mantova, Edizioni Corraini.
Nobis, Norbert 1996, Catalogue of the Editins Prints and Books, Canz Verlag, Ostfildern-Ruit.
Le Cadran S(c)olaire (1989)
Facsimile of 1974 publication by Editions des Amateurs. Juxtaposition of lanugage and images, text in French. 52pp, 15 x 20 cm, 25 images. Unpaginated. Printed offset. Edition of 1200. DAAD, Berlin and Rainer Verlag, Berlin.
Glasmeier, Michael, 1994, Die Bücher der Künstler: Publikationen und Editionen seit den sechziger Jahren in Deutschland, Institut für Auslandsbeziehungen, Edition Hansjörg Mayer, Stuttgart.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane.
Eisblut, blauer Frost (1984)
Drawings and text (in German) by Brus, printed offset with 2-colour cover. Edition of 500 unnumbered copies. 21×15cm, 16pp unpaginated. 17th booklet, Edition Hundertmark, Cologne.
Noteable Days (1990)
‘As a Czech artist living in England, Notable Days is Buchler’s response to the nineties’ events in Eastern Europe and their effect on history. The book looks at the ways in which we measure time, and through this how we construct our view of the world and our memory of certain events. The images and phrases which had a particular meaning at one time, are taken out of context here, giving them an arbitrary and cosmic dimension, and providing a new history within the pages of this book that oscillates between the unpredictability of change and the unreliability of memory.’ (Book Works). 21.5 x 14.5 cm. Printed offset litho in black, white and colour with a full-colour soft cover in a special edition of 52 silver-edged copies, signed and numbered by the artist plus standard edition of 700 unsigned and unnumbered. Collection holds special edition 2/52. Book Works, London.
Bury, Stephen 1995, Artists’ Books The Book as a Work of Art. 1963-1995, Scolar Press, Aldershot.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane.
Moeglin-Delcroix, Anne, Dematteis, L, Maffei, G and Rimmaudo, A, 2004, guardare/raccontre/pensare/conservare (looking. telling. thinking. collecting) four direction of the artist’s book from the Sixties to the present, Casa del Mantegna, Mantova, Edizioni Corraini.
2 Black Dogs (1989)
Bundy employs an expressive sense of graphic design and a series of drawings of what appear to be the same face and contrasts them with textbook illustrations of eyes and dogs’ teeth to complement the allusive power of the simple but disjointed narrative that forms the core of this diminutive book. 18pp, 6.5×8cm, paperback. Fish-Eye Lens Corp., Providence, Rhode Island.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane.
Shadow Book (1994)
A discarded car mud flap was the starting point for this book of found objects of paper and lead. Using solvent transfer, photocopies, monoprints and printed images a rich tapestry is created. 23 x 34 cm. Found objects, paper, lead and bitumen paint. Unique.
Untitled (1998)
A multiple constructed from discarded photographic paper boxes. It contains a book in a box within a box. The words in black adorning the outer box are powerful reminders of our past and also warnings about our present / future – amnesia, history, ruin, lament, time, memory, scan. The words continue on the inside lid, silence, fear, but now appears the first sign of hope, written in gold, is the word, shine. The inside box reveals a ‘booklet’ folded in two. The rough edge of its beaten lead spine is hand sewn. The cover carries a slightly blurred image of a group of Aboriginal people in European dress. The image, clearer and larger now, is repeated on the next page. On the last page the Four Horsemen of the Apocalypse ride toward the word revolve, which leads to the back cover where the first image is repeated in close-up, darker and with wire between the viewer and the some of the figures. But again some hope; on the bottom of the inside box the words return, angel are collaged with part of a map collaged over them, the image perhaps indicating the right direction for the angel]. The collaged elements, existing and original images by the artist. Card, paper, collage, various. Overall box size 14.5 x 11.5 x 5.5cm. Published on the occasion of the 3th artists’ book + multiples, Brisbane 1998. Each multiple in series is unique.
Six Negatives (1968-1969)
Collaboration between Ian Burn, who was responsible for the text, and Mel Ramsden, who presents the ˜Six Negatives” Mel Ramsden: Six Negatives-Ian Burn: Holding system for Six Negatives (text). 14 pp, 28.0 x 21.5 cm?(copy contains 13 of the 14 pages) 28 x 21.5 cm. Published by the artists, Melbourne.
Stringer, John and Dalk, Michael 1992, Ian Burn Minimal-Conceptual Work 1965-1970, Art Gallery of Western Australia, Perth.
Selenitsch, Alex 2008, Australian Artists Books, National Gallery of Australia, Canberra.
Safety Gear for Small Animals (2004)
A foldout blue print of safety gear for small animals. 15.0 x 21.5 cm (closed) Safety Gear for Small Animals is about animal rescue, relocation and rehabilitation. It presents a survey of Burns’ work over the past 10 years. Currently touring across Canada and into the United States, the exhibition opens June 25 at the Tom Thomson Art Gallery and runs through October 31, 2004.
Footprints of Small Animals Wearing Safety Gear (2000)
A foldout blueprint of small animals footprints when wearing safety gear. 15.0 x 21.5 cm (closed). William English Editions, London.
Naturgeschichtliches Alphabet (date unknown)
The German artist/satirist, Wilhelm Busch, wrote and illustrated a little alphabet of nature history for grown ups and those who wish to be. This little publication from Schierlingspress is a reprint of an edition published in 1985 by Verlag Doris Schun, Dreieich, for which Dieter Schun was responsible for production. Concertina format 11.0 x 8.3 cm. A MINIPRINT from Schierlingspress.
Ueber Das Sehen -Ueber Das Gehen (1993)
Catalogue as artist book. Catalogue book published after an exhibition at Espace d’Art Contemporain, Lausanne in 1992. 86pp, 24.7 x 15.6 cm. Vexer Verlag, St Gallen.
Diary: How to Improve the World. (You Will Only Make Matters Worse) Continued Part Three (1967)
“LXI. U.S. citizens are six per cent of world’s population consuming sixty per cent of world’s resources. Had Americans been born pigs rather than men, it would not have been different”. First sentence from Cage’s booklet. First printing, 3,000 copies; second printing, 2,000 copies, both in red and blue inks on white paper. Something Else Pres, NY. (A Great Bear Pamphlet)
Frank, Peter 1983, Something Else Press : an annotated bibliography, McPherson & Company, USA
Mud Book How to make Pies and Cakes (1988)
John Russell writes in, A Note on “Mud Book”, that the mud pie is the ‘proto-pie’. Commercial publication after edition of 500 copies. 13.5×13.5cm, 44pp, with dust-jacket. Harry N. Abrams, Inc., New York.
Print Collector’s Newsletter, Vol XV
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
Suite vénitienne – Please follow me (1988)
“For months I followed strangers on the street. For the pleasure of following them, not because they particularly interested me. I photographed them without their knowledge, took note of their movements, then finally lost sight of them and forgot them.” Calle’s curiosity continues as she follows a man from Paris to Venice. This book contains her notes and photographs and an essay by Jean Baudrillard on Calle’s work called “Please Follow Me.” 87 pp. 21 x 18cm, paperback. Printed offset/photo/text). Bay Press, Seattle, USA, (originally published 1983 by éditions de l’ étoile, Paris).
Urban Garden, (Bring the soft colours and scents of the garden into your bathroom) (1995)
A pun on the complexities of urban society, where even the brand of toilet paper becomes a matter of concern. the use of floral icons and artificial scent is far removed from the soft colours and scents of a real garden, which the artist feels is a more important matter of concern for human fulfilment. Bound with plastic tubing anf flower buttons. 140 pp. 12.0 X 12.0 cm in and edition of 13, unsigned and unnumbered. Lyre Bird Press: Off the Wall, Townsville.
The Stumbling Block, its index (1990)
“The Stumbling Block, its Index is a series of poetic definitions to invoke an imaginary object. the Block cannot be found or contained in single description, it is a shape shifter, an enigmatic energy form that exists to align itself with caution to the shadow zones of human activity. the book is also an attempt to write sculpture, to use parallel methods to order materials, form and process, to fuse and structure them with association not metaphor. In this way to construct a numinous receiver and listen to the whispers therein.” B. Catling. The book is printed letterpress and case bound with hand-worked graphite boards and embossed title. From the edition of 500. Published by Book Works, London.
Bury, Stephen 1995, Artists’ Books The Book as a Work of Art. 1963-1995, Scolar Press, Aldershot,
Turner, Silvie (ed.), 1993, Facing the page – British Artists’ Books, a survey 1983 – 1993, estamp, London. p. 35.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane
La Mia Prima Leziona (2007)
In La Mia Prima Lezione (My First Lesson) the artist draws on her childhood memory of learning to write at a time at school in Australia, when Italian was her first language. The book works its way through letters which finally make the sentence: scusi non capicso niente (sorry, I don’t understand anything) and shows how one can be taught without understanding. Linocut print, acrylic, pen and ink, 35.0 x 27.0 cm. Bound by George Matoulas. Edition 6/6. Signed A. Cavalieri.Published for exhibition Lessons in History Vol. 1 held at grahame galleries + editions March/April 200&.
