Flynt, Henry. Maciunas, George, design. Fluxus
Proof. Flat, unfolded & untrimmed in a single sheet of red-orange paper comprising 4 pp. 43.2 x 86.4 cm / 17 x 34 in. Illustrations, plans, projections. Contents, Appendices1-5: 1, Soviet prefabricated building system; 2, Maciunas' prefabricated building system; 3, Buckminster Fuller's Geodesic Dome; 4, Citroen 2CV; 5, Electric guitar and organ. The half-sheet text portion of the document is not present. A little shallow creasing. Ref: Fluxus Codex, pp. 250-251. Copies only at Northwestern and the University of Minnesota. **Free domestic or international shipping with direct order.
Berman, Wallace. Brittin, Charles [cover photo]
350 handmade copies. Printed folder 18.8 x 12.3 cm closed, with a printed pocket inside the rear cover containing 18 (i.e., 21) printed poems and visual works, ranging in size from 9.9 x 9 cm to 16.3 x 9.3 cm and 12 x 12.5 cm. There are two duplicates of Philip Lamantia's "Memoria." The copy in the pocket is on lightweight tan paper and folded; the two duplicates are on heavier stock of a slightly warmer color, and one of those is folded in half. The other contributors are: Antonin Artaud, John Chance, Sor Juana de la Cruz, Kirby Doyle, John Hoffman, Larry Jordan, Robt. Kaufman. Christofer Maclaine, William Margolis, Michael McClure, Anne McKeever, David Melzer, John Reed, Ruth Weiss, John Wieners, Pantale Xantos, and an unsigned drawing of a woman standing inside what appears to be a rough-hewn wooden crate. A few of the various papers have stained their neighbors, as to be expected. The two lower images on the fifth scan are the extra copies of Lamantia's "Memoria." **Free domestic or international shipping with direct order.
Oppenheim, Dennis (1938-2011); Helene Verin
DENNIS OPPENHEIM ARCHIVE from HELENE VERIN Nearly 400 items, including holograph notes and sketches, biographical material, photographs, publications, & ephemera HOLOGRAPH NOTES & DRAWINGS Holograph note: "Things to stay on top of" "Early morning blues"; pencil on two sides of 3-hole notebook paper Note to Helene about prints from Dennis Oppenheim studio, in envelope Holograph list in blue pencil-signed "H - call Thais Latham"; holograph note in red pen with sketch on verso Sketches and notes for "Shots in the dark" "It's more difficult for me now"; holograph note in red, both sides "A Series of One-Hour Lectures"; holograph note in red and pencil stapled to separate leaf with design for poster and calculations on verso 2 holograph foolscap leaves with notes ("Venet") and geometric sketches "You say your well has run dry"; 4 holograph legal-size foolscap leaves attached together that appear to be self-examination Similar text, typed on yellow paper "Hey, man. Has your well run dry?"; four sheets of notes and sketches stapled together "Body art"; holograph list in blue pen "Things to do"; large Oppenheim printed envelope with holograph notes and sketch "A very exciting week in Montana," undated pencil holograph notes on 8 x 14 yellow foolscap, both sides, plus 5 sheets 5 x 8 in pencil and red pen, all stapled; plus one leaf 3-hole paper, both sides in pencil (perhaps unrelated to forgoing) 6 leaves notes and drawings remaining in a pad of yellow legal foolscap DENNIS OPPENHEIM (personal) Dr. James G. Harrison, M.D. To Whom It May Concern, 7/9/1963, describing treatment 8/10/1961 to 1/25/1963 for schizophrenic episodesâ"printed letter-size 2 photocopy leaves of letter by Jack Burnham to D.O. 2/6/1969 (2 copies) 8 pp. stapled c.v. from M.L. D'Arc Gallery, probably 1976 Helene Verin to Dennis Oppenheim. Letter, 2/28/1977 1 leafâ"photocopy Dennis Oppenheim & Helene Verin preliminary contract, 3/20/1977â"photocopy of signed document; 1 leaf Dennis Oppenheim. & Helene Verin contract, original, signed by both, 12/21/1977, 4 leaves Clipping NYT, obituary, Thursday, 1/27/2011 HELENE VERIN Helene Verin c.v. (6 copies) Photocopy of typed letter from Helene Verin to Dennis Oppenheim, 28 Feb. 1977, assuring him of her capabilities as agent Typed letter signed by Dennis Oppenheim on his medium-size printed paper, folded in matching envelope, attesting to Helene Verin's skills as an artist's representative. December 28, 1977. Not mailed 4-page draft of a contract between Helene Verin and an artist (blank) 2 leaves of correspondence & invoice with Thomas Leavens re above 4 leaves concerning legal matters with Neiman-Marcus PHOTOGRAPHS Approximately 146 8 x 10 photographs of works, many with documentation 1 color Polaroid of Dennis Oppenheim & unidentified man 8 color slides in holder 4 b/w images together on small board PHOTOCOPIES Approximately 306 photocopies of reviews, etc., including a few clippings and many duplicates PUBLICATIONS Dennis Oppenheim. Indentations. Amsterdam: Galerie Yaki Kornblitt, [1969?]. 500 copies (not signed). Very rare. Dennis Oppenheim: catalyst 1967-1970. Reprint from Arstcanada, August 1970 (3 copies) Nueve dias con Dennis Oppenheim en el Centro de Arte y Communica Nine days with Dennis Oppenheim, Center of Art and Comunicación. Agosto 1971. Signed in green ink on cover. Dennis Oppenheim. Amsterdam: Stedelijk Museum 18 jan.- 2 maart 1974, Kat. 554 Dennis Oppenheim color folder, Museum Boymans-van Beuningen, Rotterdam, 25 maart-9mei 1976 (2 copies) Dennis Oppenheim b/w folder, Denise René / Hans Mayer 1976 Dennis Oppenheim. Kunsthalle Basel 13. Mai-24. Juni 1979. Oversquare cat. Dennis Oppenheim: Launching structure #3. . . . Feb 7-Mar 26, 1983. Tokyo: Ikeda Gallery, 1983. Very rare. Dennis Oppenheim color folder, Denise René / Hans Mayer 1984 On Site, partial issue with added holograph material DENNIS OPPENHEIM PRINTED STATIONERY Sheet of blank Dennis Oppenheim stationery and 2 no. 10 envelopes + 3 printed Dennis Oppenheim envelopes 10 x 13. Smaller size printed envelope, 7-1/2 in. (2) CARDS & OTHER PRINTED MATERIALS Postcard. Dennis Oppenheim John Gibson Gallery, NYC. Sat., Feb, 16- Mar. 6, [prob. 1974, or 1980]. Unmailed Postcard. Dennis Oppenheim Snow projects. John Gibson Gallery, NYC. Sat., Jan. 11-Feb. 14, [prob. 1975]. Unmailed Dennis Oppenheim: a search for clues. Large card printed in black on reflective card stock. M.L. D'Arc, 1976 "Early morning blues," poster, D'Arc Gallery, March 15, 1977 (2 copies, folded in 4); one addressed, but not mailed, on the verso to H.V. c/o Dennis Oppenheim, 54 Franklin Street, NY, NY 10013 xV Color postcard mailed to Dennis Oppenheim. His recent works, May 7-25, 1977, from John Gibson Gallery for Basel Art Fair. Corner creased â" â"â" another copy to Campbell/Knox-Leet/Landep in Toronto, with message â"â"â" 2 more copies, unmailed Color postcard. Marianne Deson Gallery, Chicago, Nov. 11-Dec. 6, 1978. Not mailed Dennis Oppenheim: "Projects portfolio," 1973. Max Protech, DC & NYC. Label originally attached to something, with glue residue on verso Fort Worth Art Museum calendar, December 1977. Poster, folded in 8.
Watertown Arsenal; W. W. Lester; H. H. Baird
Title from cover. Hand-assembled technical report consisting of 62 irregularly paginated leaves (per OCLC), all printed one side only. These include 15 mounted original photographs, 13 blueprints, and 33 text leaves (typed carbon copies). Some are descriptions of the photos. All are housed in printed, brown, paper covers, stapled through thickness of the publication 1.5 cm from spine. About 26 x 21.5. cm. From the physical structure of the book and its likely manufacture, it must be extremely rare, perhaps fewer than a dozen copies. OCLC locates one copy, at the Fort Belvoir Defense Technical Information Center in Virginia. Two copies available, both of them the former property of a Captain David J. Crawford, Jr. One copy is in very good condition, considering; some expected creasing and nicks at the yapp edges. The second cover is creased, and the fold at the cover spine has serious insect damage that is strictly cosmetic and does not affect the use of the volume. The listed price is for the better copy. **Free domestic shipping with direct order.
Warhol, Andy. Coplans, John. Mekas, Jonas. Tompkins, Calvin
The regular edition of this catalogue to the exhibition organized by Coplans at the Pasadena Art Museum has become scarce but still is relatively available. That cover is a standard black-and-white head shot of Warhol staring dully into the camera. The show also traveled to the Museum of Contemporary Art, Chicago; Stedelijk van Abbemuseum, Eindhoven, The Netherlands; Musée d'Art Moderne de la Ville de Paris; Tate Gallery, London; and Whitney Museum of American Art, New York. The paperbound version was the same wherever it was soldâ"with one exception: Eindhoven. Therein lies a tale. The van Abbemuseum bought a thousand copies of the regular catalogue in English from Pasadena or New York Graphic Societyâ"160 pp., 119 plates (18 in color), 28 x 23 cm. The shipment actually received consisted of loose and untrimmed printed sheets (folded into signatures?), which then required binding and, perhaps, covers. The museum first intended to remedy this setback partially by adding a Dutch translation and other material and binding them all together. Instead, the translation appeared as a separate, 16-page pamphlet. This much I have on excellent authority from the van Abbemuseum itself. The copy offered here is one of an uncertain number with a serigraphed cover on thicker, softer, uncoated paper. Closeups of Warhol appear on both covers, probably enlarged greatly from half-tone photographs to echo the ones in his "Most Wanted Men" series. The front is greenish-yellow and dark purple, with the title above in the same crude, seemingly stamped typography that appears on the half-title. Warhol wears sunglasses and appears younger than in the photograph on the regular trade edition. The backstrip is blank, unlike the normal edition. The rear cover, in violet and black, has a different picture of Warhol with no glasses, giving an odd, sideways smile or grimace. At the top of the cover in bold, sans-serif capitals is the legend VAN ABBEMUSEUM EINDHOVEN. If a cataloguer does not mention that crucial detailâ"and they rarely doâ"any similar copy will look bibliographically exactly like the normal copies sold through the other museums and to the book trade. The tale raises questions but no answers. Did the museum receive the original covers as well as the printed sheets? If so, how many copies did they bind with this cover, and did they charge a premium to cover the unexpected binding cost? If not, do we assume that there were 1000 such copies? What are the sources of the two photographs? Who came up with the imaginative design? Where was the new cover printed? Are there many unidentified copies in libraries and private collections? OCLC (the World Catalogue) locates one possible copy at the Tate in London. There are three copies at the van Abbemuseum, plus others in the Huntington Library; the Walker Art Center; the Koninklijke Bibliotheek and the Avans Hoge School, both in the Netherlands; and, recently uncovered, in the Warhol Museum in Pittsburgh. Other titles in OCLC describe the 16-page Dutch translation mentioned above. A good copy slightly cocked, with a small bump at the top right corner and a partially erased signature on the flyleaf. A mark in the center of bottom margin of the back cover is a small printing flaw during the application of the purple screen. The black borders in the scans are background, not part of the cover **Free domestic or international shipping with direct order.
Antin, Eleanor
An original, unmailed card from Eleanor Antin's series of 51 postcards mailed between March 15, 1971, and July 9, 1973. This one, the 32nd in the narrative, was taken at "The Pillbox," California, on September 8, 1971. Photography by Philip Steinmetz. 11.5 x 17.8 cm. Other images available (but not some early ones, especially "100 Boots Facing the Sea"). Fine, with slight browning at the edges of the address side.
Single sheet of coated paper printed one side in orange, blue, and red, with buff background. Approximately 68.6 cm / 27 in. square, folded in ninths to approximately 23 cm / 9 in. square. Alfred MacAdam writes in Art News for April 12, 2017, "We may wonder what the 'inherent destiny of any object' at hand might be, above and beyond decay and dissolution, but the 'abrogation (or abolition or cancellation) of inherent destiny'implies the removal of 'the object at hand' from the flux of time or contingency. It is only possible through the translation of the word-object into a work of art, whose alternate language is Wiener's dazzling deployment of color." Near fine, folded, with one small, shallow crease at one corner. The fragment in the scan represents about 1/5 of the whole image. **Free domestic shipping with direct order.
97 plates & illustrations. 120 pp. Orange cloth with dustjacket. 30.5 x 23.5 cm. Includes the following 7 pieces of correspondence. The first two items were clipped to the flyleaf of the book with a note to Joe and Evelyn (Isaacson, presumably). The book is in fair condition, with some spotting of the covers and pale foxing of the outer pages; also damage to the rear panel of the dustjacket. March 20, 1946. [James Johnson Sweeney?] on MoMA stationery to Louis Stern: Tls, 2 leaves, hole-punched at top and with paper clip mark: ".John Rewald. called my attention to a sculptor from Bukowina named Bernard Reder." Describes Alfred Barr's role in bringing Reder to the US with the help of William Rosenwald and R. Sturgis Ingersoll and suggests that his work might interest Stern. Code JJS:ja at bottom of letter, with highly distinctive and illegible signature, almost certainly by James Johnson Sweeney. No envelope. April 24, 1949. Bernard Reder, in Forest Hills, L.I., to Louis Stern: holograph letter, 1 leaf. "Following is my address. we are looking forward for your visite one day next week." No envelope. October 16, 1955, BR, in Rome, to Joseph Isaakson [sic], Pound Ridge, NJ: holograph letter, 1 leaf, 2 pp. Various news; Gutza is coming to NY. ln small airmail envelope. November 21, 1955. BR, in Rome, to JI: Tls, 2 small leaves, dictated to hospital nurse concerning Reder's illness. Signed by him. With small airmail envelope, same date. Laid in, copy of the Isaacson's reply, November 25. Postmark,1955? BR, in Rome, to JBI, NYC: Als, 2 small leaves, 3 pp. Small airmail envelope. Mentions a reception (in New York, presumably) and "Gutza, I want you to believe me that she is a Saint Jewish Lady." Perhaps a reply to the Isaacson's 11/25/55 letter. Laid in: drawing of a bull and a man in brown ink on very lightweight paper folded in sixths, signed and dated in pencil 1944; inscribed to Joseph in pencil, Dec 1955 (?). The piece is splitting at the long fold and can stand very little handling. It should receive expert conservation immediately. April 22, 1956. Gutza and BR, in Taormina, to the Isaacsons, NYC. Als, 1 small leaf, 2 pp. Airmail envelope. Written mainly by Gutza concerning the shipment of two bronzes. One of them is "Cello Player," probably the same one that figures in the following item. May 10, 1967, New York Times clipping: "Topless Cellist Guilty of Lewd Act." Quoting Judge Milton Shalleck's decision: "But in no poem, in no prose respected by the test of time have I read, in no valued oil, in no bust I have seen, either visually described or portrayed, a picture of a nude or topless cellist, in the act of playing the cello. I wonder if anyone has." 5/15/67 Presumed draft in pencil on yellow foolscap: Dear Judge Shalleck, The NY Times of May 10 carried quotations from your dec in the Charlotte Moorman case. Among the quotations was the following: "But in no poem, etc. I wonder if anyone has." I thought I ought to let you know that I have, as have all those who saw the large retrospective exhibition of Bernard Reder's work held at the Whitney Museum in NYC from 9/27 to Nov 7 (?), 1961 [and] in Florida at the Norton Gallery & Sch of Art at W Palm Beach. As a matter of fact, the catalog of that exhibition shows on its cover a photograph of the sculpture of "a nude or topless cellist in the act of playing the instrument." [The actual title of the 1956 sculpture is "Cello Player, II." Enclosed is a Xerox copy of that cover." I am sure that the Whitney Museum or the publishers, Frederick A. Praeger, Inc., could. supply you with the actual catalogue." Unsigned, alas, but with clipping laid in that has stained the paper. I wonder how much time Judge Shalleck spent crafting that passage for the ages, and how much his anonymous critic spent on his. Its appearance here suggests that the writer knew the identity of the owners of the sculpture and sent them the clipping and draft. For those who might not follow such things, Charlotte Moorman was a serious cellist who became a Fluxus artist and collaborated frequently with the video artist Nam June Paik during the rest of her too-short life. She also organized the Annual New York International Festival (1963-1990; please see my items 50601 and 50602 for the complete set of posters. **Free domestic shipping with direct order.
Original serigraph in yellow, red, black, and white on art paper. Folded in eight for mailing. 64 x 45.3 cm / 25 x 18-1/4 inches. One panel on the verso is stamped, boldly hand-addressed to The Nexus, and postmarked in New Orleans on May 23, 1965, 22 days before the opening. The Nexus was a bookshop my late wife and I then owned in La Jolla, California. I have not seen a copy of the many examples of this image for sale, but I believe they must be offset reproductions, perhaps authorized, or not. **Free domestic shipping with direct order.
12 b/w plates + [24] pp. White paper covers. 21.1 x 27.7 cm (oversquare). This grouping of drawings by three remarkable artists was curated by Betty Trumbull. Essays by Lucy R. Lippard, Channa Horwitz, and Joyce Cutler Shaw. Agnes Denes' work involves speculation on maps and geometrical figures and their imaginative possibilities. Channa Horwitz used mathematical progressions in time to create wonderful visual effects. Joyce Cutler Shaw, an important environmental artist, also did a great deal of work exploring verbal elements, alphabets, and artists' books. This show featured fields and rivers of handwriting based on repeated personal names: Abigail, Adeline, Agatha, etc. Somewhat browned at the edges; a small, rough patch at the top, front edge. Scarce.
B/w portrait & 8 color plates printed one side on very stiff paper, with facing descriptions, plus 4 pp. of biography, collections, and bibliography. Stiff, off-white paper covers printed in black. 28 x 21.5 cm. This copy belonged to my late friend Joan Hugo, the extraordinarily talented and much-lamented librarian of Otis Art Institute during its glory days neighboring MacArthur Park in Los Angeles. She would have been an untiring champion of Teraoka's brilliant updating of traditional ukiyoe woodblock prints. Inscribed lightly in pencil by Lynda and Masami on the title page. The laid-in card is an announcement for the "Forty-first annual exhibition, Artists of Hawaii, 1999." It is photocopied on greenish-yellow card stock 20.2 x 12.6 cm. The verso contains a long, holograph message by Masami about the work of Ann Hamilton and other subjects. The slides are in two plastic, "archival preservers." Slight browning on cover edges and some rubbing at extremities. **Free domestic shipping with direct order.
Artist's book. "Except for what you are reading on this page, this book has no words or printed images. It is as the title suggests a book of sounds. The pages in sequence make a quiet drama of subtle noises. "By turning, fumbling and rustling the pages, you will find all that is intended." [From the copyright page.] One leaf of lightweight tan paper bearing title and copyright pages; 4 leaves of what appears to be fine, lightweight, handmade white paper; 5 leaves of natural waxed paper; 3 leaves of unbleached tissue; 4 leaves of brownish yellow-orange tissue; 3 leaves of tan tissue; 4 leaves of lighweight parchment (the first with light foxing on the front); three leaves of silver foil paper, facing verso, the verso and recto to make a reflective opening); and concluding with two leaves of stiff paper fastened together in the middle with what undoubtedly was a sound-making device a half century ago but now is silent. 26 leaves total. Stiff, coated white covers. 21 cm square. Signed and dated "73" at the bottom inside cover. The neatly printed name of the previous owner, a filmmaker, written at the top of the inside cover. Signs of light handling. Near fine, except as noted. A poetic and ingenious concept, the book was created and produced while the artist was on the part-time faculty of the California Institute of the Arts (CalArts) between 1971 and 1973. The black border in the scan is background, not part of the cover design. **Free domestic shipping with direct order.
