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New York: NYABF sept. 16 - 18

ephemera: amtmann > willenbecherl
 

001.

Siegfried Amtmann – Wilfried Skreiner (text)

Jalousien u. a. (Multiple)

amtmann

Graz: Neue Galerie am Landesmuseum Joanneum, 1971. Transparent silk screened pouch- with text by Wilfired Skreiner - containing one transparent silk screened  sheet  + one folded piece of yellow pvc. Multipled published on the occasion of an exhibition held from October 10 – December 31, 1971. multiple siegfried amtmann tasche pooldesign karl neubacher. Small tear to pouch + small tear to insertes sheet.

euro 180

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002.

Giovanni Anselmo,

anselmo

 

Invitation card (21,6 x 15,4 cm) for Giovanni Anselmo's exhibition in the Galleria Toselli, Milano. Opening october 20, 1970.

euro 80

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003.

Giovanni Anselmo,

anselmo

 

Invitation card /(14,6 x 10,4 cm) for Giovanni Anselmo's exhibition Richtungen.held in the Kabinett für Aktuelle Kunst in Bremerhaven, from 30.4 - 29.5 1977. Photograph taken by Paolo Mussat Sartor.

euro 30

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004.

Eugenio Barbieri.

Caoutchouc d’invitation - Galerie Stadler - 1974.

barbieri

 

"Eugenio Barbieri est un artiste hors-série, hors-mesure, hors-étiquette. Comme tous les artistes qui ont lié leur destin aux possibilités expressives d’une seule matière, il persévère dans son être, dans sa voie marginale, exclusive, exigeante.

La matière d’élection de Barbieri est le caoutchouc, qu’il utilise depuis des années avec une fidélité sans faille (s’il lui arrive de se servir du tissu plastique mou, c’est en raison d’analogies spécifiques évidentes avec le caoutchouc). Il en connaît parfaitement le registre expressif, à la manière d’un tailleur qui serait styliste, scénographe, metteur en scène, sculpteur. La flexibilité du matériau se prête particulièrement à la découpe et plus encore à la métamorphose continue de l’image. Taillée dans le caoutchouc, accrochée à des fils comme des marionnettes, animée mécaniquement l’image de Barbieri est toujours changeante. Aguichante, elle provoque l’intervention du spectateur qui la libère de son inertie. Au repos molle et tassée, elle semble "abstraite". Quand cet étrange pantin s’anime son langage anthropomorphique s’enrichit d’une gamme infinie d’évocations figuratives. C’est ce processus essentiel des "mutables" que Barbieri a synthétisé dans une formule significative : "un carré devient homme" (un quadrato diventa uomo), qui a servi de titre à sa dernière exposition en novembre 1973 à la Galleria Vismara de Milan.

....

Derrière la côté purement formel de l’attitude transparaît tout l’univers psychologique des motivations sous-jacentes : le mouvement devient geste, le geste image, l’image symbole. C’est l’immanence de ce cheminement que Barbieri a voulu traduire dans le titre qu’il a donné à son exposition parisienne de la galerie Stadler (février 1974) : du zéro à l’infini. La progression illimitée des associations visuelles est incarnée par les deux positions extrêmes de la chambre à air d’un pneu d’automobile. Gonflé, l’objet circulaire figure le zéro. Dégonflé et plié en forme de huit renversé il figure le signe mathématique de l’infini. A partir du modèle courant de la chambre à air de la 2 CV Citroën, Barbieri vient de réaliser à Paris un multiple "Michelin" qui incarne parfaitement la véritable envergure de sa recherche de langage."

Pierre Restany 1974.

euro 400

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005. Biasi, Guido - Gérald Gassiot-Talabot (text

Guido Biasi

biasi

Paris: Galerie de Bellechasse, 1975. Quarto, 4 pages, 4 illustrations. Printed wrappers.

- First edition. Exposition 28 mai - 30 juin 1975

euro 40

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006.

Boyarsky, Alvin. Summer Session International Institute of Design.

two sheets of stamps to promote the Summer Session IID of 1970.

boyarsky

 

 

each sheet measures 25,7 x 20,4 cm and has 15 seperate stamps.

the grreen sheet announces the six weeks session from july 13 to august 21, 1970. '...unique oportunity for cross-fertisilastion and interchange. first hand studio and seminar contact with eminent international faculty. bring your own projects....'

the blue sheet shows portraits of the 'architects of the world series' participating at the IDD summerscholl 1970: Peter Cook, James Stirling, Anthony Dugdale, Alvin Boyarsky, Warren Chalk, Hans Hollein, Dennis Crompton, Cedric Price, Nikolaas Habraken, Colin Rowe, Brian Richard, Reyner Banhamand Robin Middleton.....also Weber, Stevens,Kartvedt,Lundstrom, Calquhoun, M|Nitschke, Schein and Kop.

euro 750

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007.

Boyarsky, Alvin.

A complete set of 5 promotion postcards for the International Institue of Design Summer Session, 1971.

IID 1

IID2

IId 3

IID4

pc5

"...the essay ('Chicago a la Carte" jvdd) ... became a precedent for Boyarsky's ideas about education, initially implemented in the International Institute of Design (MD) Summer Sessions, which he founded and directed in London from 1970 to 1972, and then, most importantly, throughout his years as chairman at the AA (1971-90).

The IID was an experiment in new ideas, organized at the moment of Boyarsky's transition from North America back to Europe, and a direct precursor of his leadership at the AA. Its primary feature was its replacement of a static curriculum with a dynamic mix of workshops, lectures, studio projects, and exhibitions offered by participants from around the world, including Reyner Banham, Peter Cook, Hans Hollein, Adolfo Natalini, Cedric Price, and many others. Boyarsky referred to these diverse offerings as a "well-laid table"; emphasizing the IID's distance from institutionalized university settings, he also called it a "banquet for free-ranging souls as opposed to your local cafeteria's battery-fare." The fact that these words appeared in a promotional postcard for the I ID showing a restaurant scene suggests that the menu of postcards from "Chicago ä la Carte" had become a communication medium for architectural pedagogy and a metaphor for its loose educational offerings, which could be savored ä la carte.

Indeed, instead of a fixed university menu, the IID offered multiple paths through architectural education. As another of the IID postcards attests, the 1971 edition of the Summer Session featured several metaphoric subway lines that engaged a "line" of workshops complemented by an ongoing line of faculty projects, community workshops, and "bring your own projects" as well as an "Oracular Circle Line" comprising lectures and seminars.. Central to the promotion
of this model was the role of visual imagery, which figured prominently in regular mailings to prospective students, such as the curricular prospectus titled In Progress and the postcards advertising the sessions' content, and in external press such as the detailed coverage of the IID in Architectural Design. The IID's visual blitz could be seen as the forerunner of the AA's later drawing ambience, yet its allegiance to the international economy of images marks the nuanced transformation of the "well-laid table" into, in Boyarsky's words, a "marketplace" that was conceptually diverse but also conducive to new global economic flows.

In September 1971, while still director of the IID, Boyarsky assumed the newly created post of AA chairman, established in the aftermath of a major institutional crisis. Founded by apprentices in 1847 as the only independent and private school of architecture in England, the AA had been struggling to survive financially in the postwar period.... "

(from: Igor Marjanovic in : Igor Marjanovic and Jan Howard. Drawing Ambience: Alvin Boyarsky and the Architectural Association. Mildred Lane Kemper Art Museum - Washington University - Sam Fox Scholl of Design & Visual Arts. Distributed by The university of Chicago Press, 2015.

euro 400

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008.

Boyarsky, Alvin.

A4 letterhead for the IID summer ssession of 1972.

boyarsky

euro 160

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009.

Boyarsky, Alvin.

Archigram, IID Summer Session poste (61,2 x 40,9 cm) , 1972.

IDD poster

euro 500

 

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010.

John Cage.

Alla ricerca del silenzio perduto.

cage treno

Original magnetic audio tape that was mounted on the front cover of 'Il Treno di John Cage', published Bologna: Grafis edizioni d’arte, 1979.

euro 100

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011.

Heinz Dunkelgod

Dunkelgod's Fummelobjekt.

dunkelgod

 

inflatable coat hanger by Heinz Dunkelgod published on the occasion of the exhibition 'Ars Pneumatica' held in Galerie Kümmel (Cologne) from september 10 - october 6, 1970.

euro 200

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012.

A d Gerritsen

Criminals.gerritsen

 

Uit de serie 'Criminals'. Copyright: Brummense uitgeverij van luxe werkjes, 1974. Printed manila envelope containing five postcars, each printed on the rear.

euro 40

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013.

Paul Armand Gette,

Frohe Weihnachten....

p.a. gette

Paris: janvier 1984. White envelope that contains 2 printed cards, one with a text by P.A. Gette, 'Introduction au toucher du Modele and the other card an invitation by Janine Landais with an invitation for the introduction of Gette's 'Inntroduction au toucher du Modele', taking place on january 13 1984 in the 'librairie Arts-Cataalogue'. The envelope contains furthermore a colored postcard printed on two sides with an image of Paul-Armand Gette, published by Hans Ulrich Obrist and Eva Maria Presenhuber.

euro 25

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014.

Fred Forest.

forest

Announcement (28,2 x 20 cm un folded) for 'Installation et Animation Vidéo Rencontre avec Fred Forest Musée Cantonal des Beaux-Arts Lausanne 12/26 Novembre 1972'

À l’invitation de René Berger qui suit et encourage sa pratique de vidéo-art depuis les années 70, Fred Forest intervient dans le musée en même temps qu’il réalise une expérience interactive avec les lecteurs de TRIBUNE MATIN dont les réponses seront exposées dans les salles du musée. À cette action, l’artiste réalise également une animation vidéo interactive sous forme d’une installation à laquelle sont confrontés les visiteurs du musée. Il fera intervenir dans ce dispositif une fanfare campagnarde du Valais et organisera une tombola publique dans le musée à la plus grande réprobation des milieux bourgeois du canton dont des personnalités locales sont les… administrateurs du Musée Cantonal des Beaux-Arts de Lausanne.

euro 60

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015.

Sol Lewitt.

Sol Lewitt / Wall drawings.

lewitt

Invitation card (26,6 x 25,3 cm) for the exhibition in the Pace Wildenstein Gallery from January 29 – March 12, 1994. The card illustrates ‘Forms derived from a cube (25 variation), March 1989. Invitation signed on the rear by Sol Lewitt.

euro 200

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016.

Heinz Mack,

mack

Düsseldorf: Galerie Schmela. 1960. Printed invitation card (21 x 15 cm) for exhibition opening on November 1960.

euro 30

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017.

Man Ray,

Folded invitation card (24 x 33,8 unfolded) Text in Italian, French and English.

man ray

euro 30

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018.

Enzo Mari - Max Bill + Matko Meštrović (teksts)

Enzo Mari. vizualna istraživanja strukture design.

mari

Zagreb: Muzej za umjetnost i obrt,1962. Sall quarto, 16 pages, 9 illustrations. Illustrated wrappers.

- First edition. Exhibitionfrom 19.X - 4 .XI, 1962.

euro 180

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019.

Duane Michals,

Duane Michals (1939-1997) A film by:

duane

Ed Howard and Theodore R. Haimes. Executive Producers: Sydie Lansing and Gerrit Lansing. 16 mm, Black and White 14 minutes. Available for Purchase or Rental (Film or Videotape) with round red stamp of the Suydam Productions. Publicity card (20,4 x 20,4 cm)'A film on Duane Michals', printed on heavy stock.

euro 30

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020.

Duane Michals,

Duane Michals. James Newberry recent photographs.

duane

New York: New York Light Gallery, october 15 - november 9, 1974. With illustration after Michals photograph + an excerpt from a converstation with Duane Michals september 24, 1974. Folded announcement card (30,5 x 19,2 cm)

Added: a folded 2 page (letterhead Light Gallery) bio-bibliography about James Newberry + on the rear a text on Duane Michals.

euro 40

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021.

Giulio Paolini.

2121969

paolini

Invitation card (16,5 x 12,9 cm) for an exhibition in the Galleria De Nieubourg. Milano. Opening friday febrary 21, 1969.

euro 40

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022.

Pavlos.

Natures mortes. Stilleben.

pavlos

Anläßlich des 7. Kölner Kunstmarkets zeigen wir.... Köln: Galerie der Spiegel, 1973. Duodecimo with at the inside colored pages cut out in the shape of a drinking glass.

This is the invitation for the opening on september 28. 1973.

euro 25

 

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023.

Ettore Sottsass jr.

Ceramiche tantriche.

sottsass

Bologna: Galleria La Nuova Loggia, 1969. Poster (folded three times - 55,8 x 43 cm unfolded), printed in red on both sides. Texts by Ghandi + Sukracarya.
Exhibition from 1 – 20 february 1969.

euro 400

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024.

Andre Thomkins.

Zahnschutz Gegen Gummiparagraphen

thomkins

euro 80

Remscheid : Vice-Versand, 1968. a rectangular piece of rubber (11.5 x 5.5 cm) printed with title + three attached rubberbands. Signed and dated Andre Thomkins. Orignal box missing.

 

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025.

Timm Ulrichs.

- das erste lebende kunstwerk – (kunst ist leben, leben ist kunst )

ultichs

frankfurt: galerie patio, 1966. 2 page stapled and mimeographed flyer announcing Ulrichs' first exhibition as ‘living artwork'. The first page shows his nombril (photograph by riebesehl) and the second page is an attached Leichenschauschein (auch fur totgeborene) where Ulrichs typed his name, sex, place and date of birth. At the bottom of this form wrote Ulrichs (typewritten) “timm ulrichs' leichen-schau: letzte totalkunstdemonstration / die fehlende daten sind zu gegebener zeit nachzutragen.” Top of both pages slightly wrinkled.

- First edition of this flyer that announced Ulrichs' exhibition from1. – 5. Juni 1966.

euro 80

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026.

Timm Ulrichs.

 

Ich bin ein gedicht. (erstes lebendes kunstwerk/totalkunstbetrieb.) ‘3. Egozentrisch-monomanisches manifest'  

ulrichs

 

 

 

 

 

 

 

 

 

 

 

Wien: Werkstatt, Verein zur Förderung moderner Kunst, 1968. Small sized poster (41,8 x 29,8). Photograph by Heinrich Riebesehl.

- First edition. The second manifest “Ich als Kunstfigur oder: Was das ganze Theater soll (2. egozentrisches Manifest) was published in Magazin Kunst, 1969.

euro 80

 

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027.

Bart van der Leck.

vdleck

Original cardboard box (47 x 47 cm) with silk screened logo designed by Bart van der Leck for the Dutch department store Metz & Co. Bart van der Leck was commisioned in the early thirties to design interiors, window packaging, branding and advertising for this luxury department store.

euro 300

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028.

John Willenbecher.

Invitation card (19 x 19 cm) - with 19 circular punch holes - for an exhibition in the Richard Feigen Gallery, Chicago sept. - oct 17, 1967

willenbecher

euro 100

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ephemera: amtmann > willenbecherl
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