Ten Isometric Drawings for Ten Vertical Constructions

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Fred Sandback
Ten Isometric Drawings for Ten Vertical Constructions
New York City, USA: Lapp Princess, (1977), 2003.
[24] p.
15.3 x 15.3 cm
grampo
2000 ex.

Simple vertical lines on a three dimensionally grided field create surprisingly complex spatial relationships in this Lapp Princess Press publication, the first in a series.

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Writer and art critic Amy Baker founded Lapp Princess Press in 1977 with the goal to create artists’ books that could be purchased by the widest possible audience. Works were published in editions of 2,000 and sold for $3 each. Other than the uniform format (6 inches square), artists were given complete freedom in terms of the content. Sandback, who would later marry Baker, was the first artist invited. Eleven others followed between the years of 1977 and 1979, until Baker left to become executive publisher of Artforum. Other artists include David Shapiro, Chuck Close, Victor Burgin and Alice Aycock.

Green as Well as Blue as Well as Red

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Lawrence Weiner
Green as Well as Blue as Well as Red
Brest : Éditions Zédélé, 2012 [Jack Wendler, Londres, 1972]
17 x 12 cm
100 p.
Brochura
ISBN 978-2-915859-37-9

Publié avec le soutien de / published with the support of:
Centre national des arts plastiques (Cnap)

Lawrence Weiner is one of the pioneers of conceptual art according to which language is the best medium for art. That is why printed matter plays an essential role in his work, from the design of his own catalogues to his proper artist’s books: fifty since 1968.

Lawrence Weiner was one of seven artists included in the well-known publication/exhibition known familiarly as the Xerox Book that was published in New York in 1968 by Seth Siegelaub and John W. (Jack) Wendler. This Xerox Book was one of the auguries of conceptual art. In the same year Siegelaub, with assistance from the Louis Kellner Foundation, published Weiner’s first artist book: STATEMENTS. A few years later, in 1971, Siegelaub’s erstwhile partner Jack Wendler left New York and moved to London. He soon presented his first exhibition, which took the form of a printed card by Lawrence Weiner, and by the beginning of the next year had his own exhibition space. In addition, in 1972, he published Weiner’s ninth artist book: GREEN AS WELL AS BLUE AS WELL AS RED. As Weiner has said: THE BOOK CAME ABOUT BECAUSE OF AN EXHIBITION OF THE WORK AT JACK WENDLER’S GALLERY IN LONDON. I ASKED JACK IF HE WOULD MAKE A BOOK & AND HE SAID YES. HE FOUND A PRINTER & THE BOOK WAS MADE. This simple statement is at one with the kind of book that was published. GREEN AS WELL AS BLUE AS WELL AS RED was, like its eight predecessors, a container for terse verbal information. (It was not until his twelfth book, in 1973, that Weiner introduced photographs into his books.) When asked for two or three lines about the origins of this book, Weiner stated: THERE IS NOTHING TO SAY. A BOOK IS A BOOK FOR ALL THAT. Subsequently he added: THE BOOK IS ABOUT ITS CONTENTS. PERHAPS NOT AT ALL ABOUT THE SHELF IT FINDS ITSELF ON. And finally, given that this is a ‘little red book:’ (PERHAPS IT IS JUST BY CHANCE THAT IT LOOKS LIKE ONE OF MAO’S BOOKS.)

http://www.editions-zedele.net/reprint/green-as-well.html

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Der Pralinenmeister

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The Chocolate Master / Der Pralinenmeister
Hans Haacke
Toronto, Canada: Art Metropole, 1982
duotone
26.5 x 20.1 cm.
[28] p.
ISBN 0920956114

Livro de artista documentando o trabalho de Haacke de mesmo título, formado por sete dípticos. O livro de artista reproduz cada um dos 14 painéis do trabalho, que desconstroem as atividades de Peter Ludwig e seu conglomerado de chocolate Leonard Monheim AG., cruzando suas atividades comerciais com o seu colecionismo. Principalmente mostra como é o tratamento dos trabalhadores em suas fábricas de chocolate, a evasão fiscal através de doações de obras de arte e as manipulações de sua fundação de arte pelo próprio Ludwig e sua esposa. Um livro viciante e provocante. O design do livro não foi creditado, mas é de AA Bronson. Textos em inglês e alemão.

Artists’ book documenting the work by Haacke of same title, which features seven diptychs. Artists’ book reproduces each of the 14 panels of the work which deconstruct the business activities of Peter Ludwig and his Leonard Monheim AG. chocolate conglomerate as it intersects with this art collecting activities. Principally it takes Ludwig to task for his treatment of workers in his chocolate factories, tax avoidance though art donations, and the manipulations of his art foundation by Ludwig himself and his wife. A vicious and provocative book. Uncredited book design by AA Bronson. Texts in English and German.
(via http://www.specificobject.com/)

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Mallarmé, The Book

Klaus Scherübel.
Mallarmé, The Book
New York, Printed Matter Inc., 2004
ISBN 0-89439-012-0

Nos últimos trinta anos de sua vida, o poeta francês Stéphane Mallarmé (1842-1889) se dedicou a um “trabalho maravilhoso”, que ele simplesmente chamou O Livro (Le Livre). Ele imaginou o livro como uma arquitetura textual-cósmica: uma estrutura extremamente flexível que iria revelar nada menos que “todas as relações existentes entre tudo.” Esta “Grande Obra”, totalmente liberta da subjetividade de seu autor e contendo a soma de todos os livros era, para Mallarmé, a essência de toda a literatura e ao mesmo tempo um livro “muito comum”. A realização deste
trabalho “puro” que planejava publicar em uma edição bestseller nunca progrediu além de sua concepção e uma análise detalhada das questões estruturais e materiais relacionadas com a publicação da obra.
Em Mallarmé, O Livro o artista Klaus Scherübel atua como editor e preservador da obra-prima esquecida de Mallarmé. Em um gesto que destaca o estatuto contraditório do livro, impossível de realizar (como um livro) e plenamente realizado (como um trabalho conceitual), Scherübel produziu uma “capa” para O Livro nas dimensões especificadas por Mallarmé mais de cem anos atrás.

http://klausscheruebel.com/