Este blog tem como objetivo divulgar a Coleção Livro de Artista da Universidade Federal de Minas Gerais, a primeira coleção em uma biblioteca de universidade pública no Brasil. Iniciada em novembro de 2009 com a doação de um conjunto de livros de Alex Flemming, Guto Lacaz, Marilá Dardot e Paulo Bruscky. O acervo possui mais de 700 livros catalogados e atualmente é o maior acervo do Brasil.
La Marelle ou Pie in the Sky
Villeurbanne: Le Nouveau Musée / Institut d’Art Contemporain, 1990
offset, duas cores
20 x 20 cm
La Marelle ou Pie in the Sky a été publié à l’occasion d’une commande publique. Pour la ville de Villeurbanne, Lawrence Weiner a réalisé une œuvre place Mendès-France : trois marelles et des inscriptions au sol. L’édition reprend et repense certains éléments de l’installation urbaine, organisés ici selon les contraintes propres au livre et au passage de ses pages.
Seth Siegelaub (ed)
CARL ANDRE ROBERT BARRY DOUGLAS HUEBLER JOSEPH KOSUTH SOL LEWITT ROBERT MORRIS LAWRENCE WEINER [also known as the ‘Xerox Book’]
Amsterdam: Stedelijk Museum Amsterdam /De Appel arts centre / Stichting Egress Foundation / Roma Publications, 2015
21 x 27,9
Originally published by Siegelaub/Wendler in 1968. Republished in December 2015 on the occasion of the exhibition Seth Siegelaub: Beyond Conceptual Art at the Stedelijk Museum Amsterdam.
Green as Well as Blue as Well as Red
Brest : Éditions Zédélé, 2012 [Jack Wendler, Londres, 1972]
17 x 12 cm
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.)
Livros mobiliam uma sala, mesmo: Lawrence Weiner sobre livros de artista
coordenação editorial: Regina Melim
tradução: Amir Brito Cadôr
revisão: Jorge Menna Barreto
projeto gráfico: Giorgia Mesquita
Livros mobiliam uma sala, mesmo: Lawrence Weiner sobre livros de artista trata-se de uma apresentação realizada por Lawrence Weiner no Symposium on Artists’ Books, patrocinado pelo Dia Foundation e pela Printed Matter, em Nova Iorque, em 1989. Segue abaixo um fragmento:
“O primeiro livro que eu fiz era chamado “Declarações” (Statements) – quero dizer, o primeiro livro a ocupar algum lugar. (…) O livro foi mal encadernado, de modo que agora, se alguém quiser ler, ele será destruído, o que é até engraçado. Além de mal encadernado, foi muito mal impresso. Mas aconteceu, circulou.”
Eric Doeringer, 1974- (Estados Unidos) The Xeroxed Book
Nova York : Copycat Publications , 2010.
Bound Photocopies, 8.5 x 11″, 185 p.
edition of 250
The Xeroxed Book is based on Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, Lawrence Weiner – an artists book published by Seth Siegelaub and John Wendler in 1969 that is more commonly known as The Xerox Book. The Xerox Book was conceived as an exhibition in book form: Siegelaub invited the seven titular artists to submit 25-page projects designed to be reproduced by the then-new technology of the photocopy. However, photocopying proved too expensive at the time, and the book was printed on a traditional offset press.
The Xeroxed Book is a photocopied edition of the Xerox Book. Being photocopied, The Xeroxed Book is perhaps closer to Siegelaub’s intent than the original book. However, as a second-generation copy, The Xeroxed Book displays the limitations of photocopying as a reproductive technology. Dust, page edges, distortions, and other familiar Xerox artifacts appear on every page, becoming as much a part of the reading experience as the original artists’ projects.