artists books – F
1941 (2003)
“My thanks to all the photographers whose pictures are reproduced in this book. All the photos were published between the late 1930′s and the early 1950′s. My special thanks to Otto Croy, from whose books I took most of the pictures shown here. These books were published in 1941, the year I was born. These kinds of pictures were part of my youth and greatly appealed to me. It seems to me that the photos in this book clearly show what I am looking for in photography and what I try to find in my own photographic work. Probably I just seek the same thing again.”?Feldmann’s preface to this 126 pp with 273 b/w images plus 2 loose and 1 collaged colour images and 27 drawings. Text in German and English. Düsseldorf.
All the clothes of a woman-Alle Kleider einer Frau (1999)
Photogrtaphic documentary in 70 b&w photographs of a woman’s total wardrobe in 1974. 42 pp. 10 x 11 cm. Art Metropole, Toronto and Feldmann Verlag, Düsseldorf.
Ample Food for Stupid Thought (1965)
This is the first English book by French artist/poet Robert Filliou. This book was originally designed as a set of postcards. With friendly introductions by: Dainel Spoerri; Arman; Kichka Baticheff; George Brecht; William Burroughs; Christo; Diane di Prima; Brion Gysin; Dick Higgins; Allan Kaprow; Ray Johnson; Joe Jones; Alison Knowles; John Herbert McDowell; Jackson Mac Low; Nam June Paik; Benjamin Patterson; Dieter Rot; James Waring. An Introduction by Jackson Mac Low on dustjacket ‘Some Unsystematic Reflections for Filliou & Others’. 13.2 x 18.0 x 1.5 cm, 96 pp (unpaginated) with dustjacket. Something Else Press, Inc., New York, Cologne, Paris.
Bury, Stephen 1995, Artists’ Books The Book as a Work of Art. 1963-1995, Scolar Press, Aldershot
Frank, Peter 1983, Something Else Press an annotated bibliography, A Documentext Publication, McPherson & Company.
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions,Brisbane.
Kirker, Anne 1993, Fluxus and after…, Queensland Art Gallery, Brisbane.
STANDARD-BOOK / LIVRE-ETALON (1982)
Robert Filliou spells his name with three ‘Ls’ – ‘Fillliou’ on cover of STANDARD-BOOK. Why?
‘all literature – past, present and future – can be objectively evaluated at last, thanks to the STANDARD-BOOK, which alone ensures the faultless measurement and impartial assessment of printed matter(s)’. English and French titles and text. Pages simply contain the numberes 2 – 19, one to a page for both the English and French versions. Concertina format 4 x 4 cm (closed). Dieter Roth (ed.) Edition of 1000. Published Stuttgart.
‘Poursuites Révolutionnaires’ (1987)
Artist book/catalogue published to accompany exhibition ‘Poursuites Révolutionnaires’ 20 September to 13 December 1987 at Jouy-en-Josas. Catalogue essays by Yves Abrioux and Jean de Loisy. Text and images by the artist of the French Revolution with 9 loose sheets with texts:
1. You cannot step into the same revolution twice.
2. ‘Who are these men who have no streets named after them?’ – French person of 1987, on The Committee of Public Safety, 1794.
3. The French Revolution was something other than the French nation on the psychoanalysts couch.
4. Three Parties in The Convention: The Mountain. The Plain. The Ravine.
5. In the Picturesque landscape of the Revolution the wildest of the banditti were all ex-lawyers.
6. For the best of the Jacobins the Revolution was intended as a pastoral whose Virgil was Rousseau.
7. Revolutions conceived in the fields are very different from Revolutions conceived in the cellar.
8. It is not true that the blade was terrible: it was Terrible.
9. In the first chapters of the Revolution when the ribbons were still on the haycocks…?Edition of 3000. Fondation Cartier Pour L’Art Contemporain, Jouy-en-Josas
Grahame, Noreen (ed.) 1991, Artists’ Books – The Catalogue, grahame galleries + editions, Brisbane.
Murray, Graeme 1990, Ian Hamilton Finlay & The Wild Hawthorn Press, 1958-1990, Graeme Murray, Edinburgh.
Homage to Robert Lax (1974)
A book of concrete poetry, some in red/white and some in black/white. 12 pp. 25.5 x 10.5 cm. The Wild Hawthorn Press, Scotland.
Büchler, Pavel 1986, Turning over the pages, Kettle’s Yard Gallery, Cambridge
Murray, Graeme 1990, Ian Hamilton Finlay & The Wild Hawthorn Press, 1958-1990, Graeme Murray, Edinburgh.
A Boatyard (1969)
Twelve drawings of boats, eleven of which are name for:
A Boat, for Messrs Tait, Morgan and Garioch – Scottish Zulu
A Boat, for Ian Hamilton – Naggar
A Boat, for Derek Stanford – Ramsgate Tosher
A Boat, for Bob Cobbing – Barking Fish-Carrier?A Boat, for Stuart Montgomery – Swim Header
A Boat, for Arnold Wesker – Kofschip
A Boat, for George MacBeth – Schokker
A Boat, for Edward Lucie-Smith – Sharpie
A Boat, for A Alvarez – Bomb Ketch
A Boat, for Cavan McCarthy – Rye Cod Smack
A Boat, for Ian Hamilton Finlay – Shrimper
Printed in black on dark green/blue card one on each fold of the concertina format. 12.7 x 10.4 cm closed. Edition unknown. The Wild Hawthorn Press, Scotland.
Murray, Graeme 1990, Ian Hamilton Finlay & The Wild Hawthorn Press, 1958-1990, Graeme Murray, Edinburgh.
SIEDLUNGEN, AGGLOMERATION (1993)
Fischli and Weiss have been collaborating since 1979. SIEDLUNGEN, AGGLOMERATION is indicative of their art. The four seasons are shown in the colour photographs of housing estates and clusters of housing around the Swiss city of Zurich. The photographs start in winter and work their through the seasons to arrive back at winter. 19.5 x 24.8 cm. Published in conjunction with an exhibition at the Kunsthalle Zürich in 1993. Edition Patrick Frey (Scalo Verlag) Zürich.
Untitled (1977)
Stamped on cover: Peter Fleishman, 144 Chambers Street, New York, New York 10007. 5 loose blue pages, white cover. 21.5 x 14.0 cm. (Sept 1977). (Interestingly the Franklin Furnace produced Volume I of its bibliography in 1977, which contained 144 white note cards by artist (Peter Fleishman was one of the artists). Published by the artist.
Untitled (1990)
By reproducing isolated fragments of Old Master paintings with Christian themes, Floistad has created a post-Enlightenment Book of Hours that examines the language of gestures which govern the making the understanding of these works. Apparent above all are references to the sexuality of Christ and the ways in which it is constructed in relation to Mary’s nurturing femininity. An introductory text by Rainer Borgemeister frames the images by describing Christianity as ‘source of prohibitions.’ 48 pp, 15.0 x 10.5 cm. Paperback, edition of 500.
Somewhere in France : 1917 (1999)
A post-humous collaboration between Sue Ford and her grand-father Jim Keating. Photographs by Sue Ford with Manuscript by James Edward (Jim) Keating (1888-1972). 34 offset prints published in a limited edition of 500 copies signed and numbered by the artist. Collection holds edition 137/500. Clemenger Trust, Melbourne.
Leutholdstrasse 1981/82 (1988)
Using photographs of works in progress and finished works in artist’s studio, Frei creates a pictorial commentary at Leutholdstrasse in 1981-82. 10.5×16.5cm in plain card covers. Edition 500 unsigned and unnumbered. Published by the artist in Zurich.
A Survey of Vomitus in Sixteenth Century Woodcuts (1998)
A light hearted look at the popular Sixteenth century pastime of throwing up. Images and cover are appropriated, hand coloured and bound in bad taste. 19.5 x 15.0 cm. Signed and dated. Published by the artist.
Fleurs Sauvages / Wild Flowers (a seven day walk in the Pyrenees, Spring 1981) (1982)
Artist book with four part fold-out of b&w photographs from a seven day walk in the Pyrenees, Spring 1981. Travelling in a circle from Bedous by way of Ibon de Acherito, Col de la Contende au de Couecq, Col d’Ayous, Lac de Peyreget, Col d’Iseye. Cover image drawing reflects the alpine landscape. Published to accompany exhibition at Centre Georges Pompidou, 25 November 1981-25 January 1982 in collaboration with the British Council. 23.5 x 30.5 cm. Edition of 500 signed and numbered copies. Collection holds No 41/500. Centre Georges Pompidou, Musée national d’art, Paris.
Cutts, S, Horn, E and Janssen, J 1997, The Space of the Page: Sequence, Contiunity & Material, The Centre for the Study of Sculpture, Henry Moore Institute, Leeds. no. 9.
One Hundred Walks? (1991)
In ‘One Hundred Walks’ Hamish Fulton describes walks he has undertaken during the last 30 years. Designed by Fulton and printed in different colours, the text becomes a work of art as well as poetry. Hamish Fulton’s work is often described as ‘Landart’. His work, however, neither documents nor invades the landscape. Instead his work registers the emotions, experiences and discoveries. Hard cover, 25.0 x 17.5 cm, 135 pages with different colour ink texts. Haags Gemeentenmuseum, Netherlands.
Song of the Skylark (1982)
A splendid book, composed entirely of text, documenting Fulton’s series of two-mile circular runs during 1979 to 1982. The documentation is in the form of short statements that capture the artist’s observations during his wanderings. The artist has, with great economy, very accurately described places, things smells, sounds and feelings in a production that, perhaps, because of its simplicity, is one of Fulton’s most beautiful books. 37 pp. 18.0 x 13.0 cm, paperback. Printed offset. Coracle Press for Waddington Galeries Ltd, London.
