O'KEEFFE, Georgia; STIEGLITZ, Alfred
Exhibition catalogue. Octavo; two folded leaves. SIGNED by O'Keeffe, with presentation inscription to front cover ("I am sorry you can't come- Hope all is well with you"). Scarce catalogue for O'Keeffe's first large solo exhibition, organized by Alfred Stieglitz at Anderson Galleries in the year prior to their marriage. Robinson speculates that the show attracted some 500 visitors per day; "The whispering that had gone on about her 'uninhibited' work in 1917, and the remarkable photographs of the artist exhibited [by Stieglitz] in 1921, made the event border on the sensational." Featuring a strikingly bare artist statement from O'Keeffe and an excerpt from Marsden Hartley's appreciation of her work. No checklist of the show has been preserved, heightening the terse statement to rear panel: "There is no catalogue. The pictures have no titles, but are numbered and dated. Ninety of the pictures have never before been publicly shown." Two horizontal creases, presumably from mailing; a remarkable presentation copy of a significant catalogue, with only 7 OCLC records located.
First Edition. Quarto. Contents: 46 xerographic leaves (printed rectos only), between front and rear staple-bound cover sheets. Publication issued on the occasion of the group show curated by Richard Phillips at Simon Watson Gallery (November 3 through December 1), exploring the manner in which the heavy metal aesthetic had influenced contemporary art. Featuring artist page contributions from the likes of Ashley Bickerton, Ken Lum, Raymond Pettibon, and Mile Kelley. Includes "Super Anti-Aging Energypac," a work from Vic Muniz, with group of pills in plastic bag affixed to backing sheet. Catalogue accompanied by short exhibition checklist (4 letter-sized sheets on Watson letterhead, stapled to cover sheet), with manuscript amendments, including correction to "Richard Pettibone" entry. A hint of toning, else near fine. Scarce; with no OCLC records discovered.
First Edition. Quarto. Two volumes (all published); including the scarce first number, printed in only 275 copies, according to Maffei. Legendary artist magazine edited by Ettore Sottsass and Fernanda Pivano, with Allen Ginsberg recruited as "Direttore irresponsabile." Influenced by the aesthetics of countercultural magazines such as Oz and the San Francisco Oracle, Pianeta Fresco was designed as a "technology for deconditioning," amidst an increasingly authoritarian and technocratic society. "This means the magazine is interested in research and experimentation into the psychic and spiritual structures of an individual, research into new chemical products which might affect or speed up perception, research aimed at rediscovering the original reality and purposes of spoken, written, and visual language" (Pivano in Maffei, p. 99). Across the two volumes, contributors of both text and images included: Archizoom, William S. Burroughs, Jan Dibbets, Mircea Eliade, Lawrence Ferlinghetti, Allen Ginsberg, Allan Kaprow, Timothy Leary, Jonas Mekas, Fernanda Pivano, Michelangelo Pistoletto, Ettore Sottsass (as photographer), Gary Snyder, Tomasso Trini, and Alan Watts; with Archizoom's contribution to first volume consisting of 7 pages of experimental gazebo designs. Contents: (1) first number with self-wrappers plus 58 leaves, for [120] pages total. Front cover present in its purple-and-turquoise version. Preserved in remarkable condition; fine. (2) Second number with wrappers plus 82 leaves, for [164] pages. Minor stains to front cover, with short-tear to top of first leaf, else near fine. Set housed in custom cloth slipcase with acetate window to front panel.
First Edition. Octavo. Autobiography from adventurer Jack Black detailing his experiences in the hobo underworld, freight-hopping around the still-Wild West of the U.S. and Canada. He tells of becoming a thief, burglar, and member of the yegg subculture, as his narrative explores themes of crime, vice, addiction, penology, and human folly from various standpoints; from observer to supplier, victim to perpetrator. William S. Burroughs cited "You Can't Win" as an extremely influential book in his life, with Black's mark quite clear in "Junkie." Red cloth boards with bright gilt lettering to front panel and spine. Ownership inscription to front endpaper, with minor spotting to margins of pp. 305-11, else a near fine copy. With a pleasing, unsophisticated copy of the scarce jacket; chip to tail of spine, with closed tears to upper section. Housed in custom case with chemise, with gilt lettering to leather spine compartments box. An exceptional survival.