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Dieter Roth: Lieber Wolf..., 7.11.1977 [overpainted postcard]
1977 (11), 14,7x10 cm. Original overpainted postcard made by Roth in the remote Icelandic fishing village of Hellnar but mailed from Reykjavik to his friend and collaborator Wolf Fuchs on 7.11.1977. Interesting choice of postcard featuring the 'Strange formations on the Vatnajökull glacier" a playful take on landscape painting tradition by Roth. The matter discussed verso - holograph note - is yet again books. Monogrammed twice recto / verso. Comes with original hand-addressed envelope.

condition: Excellent.  
Dieter Roth: Lieber Wolf..., 13.12.1976 [overpainted postcard]
1976 (12), 10x14,6 cm. Original overpainted postcard mailed by Roth from Reykjavik to his friend and collaborator Wolf Fuchs on 13.12.1976. The matter discussed verso - holograph note - is once more books. Monogrammed twice recto / verso. Comes with original hand-addressed envelope.

condition: Excellent.
Kaws Exposed, 1999
Paris: Colette, 1999, 22x15,5 cm. Softcover. Unpaginated. English. Amazing photobook doubling as a very early monograph on the work of Kaws. Features 31 of his 'augmented' posters - original phone-booth and bus-shelter posters that, having learned how to pick locks, he took home, altered, and put back in place - photographed in situ. Coveted and rare.
condition: Near Fine.
Stanley Brouwn: durch kosmische Strahlen gehenn [walking through cosmic rays], 1970
Mönchengladbach: Stadtisches Museum, 1970, 49,5×69,6 cm. Artist designed poster / edition which was part of the exhibition as well. Published in conjunction with the enigmatic and highly debated project by Stanley Brouwn for his first ever solo presentation in a museum. Reactions to it ranged from amused perplexity (...) to open aggression with some commentators angrily suggesting "May the city administration send its museum director [Johannes Cladders] to the desert as soon as possible and pay out the city's taxpayers' money to worthy representatives in the cultural field, but not to appointed charlatans". ***
Stanley Brouwn's exhibition project 'durch kosmische Strahlen gehen' confronted the Mönchengladbach audience for two weeks with empty exhibition spaces and an artistic concept of minimal interventions that triggered a maximum of reactions and emotions. (...)Numerous legends also revolved around the "invisible" cassette catalog, which had been officially published in a single edition of a single copy. Did it even exist? Did it Contain Material or was it Empty? Through a stroke of luck, it turned out as part of our 2017 research that Johannes Cladders had a second internal specimen copy for the museum produced at the time. This second cassette catalog, which had been preserved in Cladder's estate, finally provided a comprehensive insight into the overall concept of the artist - far beyond the exhibition. In addition to the empty exhibition rooms, what was part of the artist's concept? Brouwn's minimalist project, which involved the visitor in an open actionist process, included the following elements: A small square instruction card (...), a camera, a monitor and the cassette catalog - which does not exist in the exhibition. (...) Furthermore, there was an exhibition poster - apparently designed by the artist, which also hung in the entrance area("It is the exhibition poster, which represents cloud fields, irradiated by irritating light. This is where the world of the cosmos open up, which is then to continue in the empty rooms of the modest museum building.") It is interesting that at the time no one made the connection between Brouwn's action and current events: In July 1969, American astronauts were the first people to land on the moon and set the American flag there. With the Apollo 11 mission, the ideological and technological competition for the global political supremacy between the USA and the USSR reached a new dimension. The expansion of the human radius of action into the universe (...) was transferred to political reality (...) Stanley Brouwn relied on universal connection. His invitation to the recipients to subject their own movement, action and orientation in space to active consciousness, to enter extended spaces of thought and universal dimensions, was supplemented by the offer formulated in the exhibition leaflet to contact the artist living in Amsterdam personally about the content of the cassette catalog. This opened up additional possibilities for the initiation of communicative processes and for the self-determined expansion of the radius of action in space and time. [excerpts from the amazingly documented project as presented on the DIE AUSSTELLUNGEN UND KASSETTENKATALOGE DES STÄDTISCHEN MUSEUMS MÖNCHENGLADBACH 1967–1978 Digital Archive - organised by Susanne Rennert and Susanne Titz]

condition: Strip of minor water staining visible verso on the lowermost part of the poster with a maximum 'height' of about 1,5-2cm wide on the right part and about 0,5 cm on the left. Single inoffensive crease on lower left corner. A highly presentable copy of a very rare poster.            
Keith Haring: An exhibition of works on paper curated by Baird Jones, 1988 (signed)
Private Eyes: New York, 1988 (02), 8,7×13,8 cm. Exhibition / party invitation card, one of the more rare ones by Haring given the nature of the venue and the event. Private Eyes was a trendy gay lounge and literally a video club [The club was state-of-the-art for its day, with almost three dozen television sets, an immense library of 3/4th inch VHS cassettes and the technology to make “beat-for-beat transitions between videos, as well as wipes, fades and full mix effects for the club’s six tape decks.” New York Magazine listed it among their ‘environment clubs‘ of 1984, “like a department-store television section, except at Private Eyes you can have a beer and you can’t change the channel.”]. The show was curated by the infamous party organiser - and according to artnet "one of the strangest pioneers of the New York culture scene" - Baird Jones. It featured works on paper and of course complimentary drinks. Boldly signed and dated by Haring in black marker. An obscure little gem.

condition: Near Fine.
[Keith Haring] Portrait by Annie Leibovitz on Gallery Guide cover, 1987 (signed)
Art Now / Boston · New England - Gallery Guide Scotch Plains: Art Now Inc., 1987 (06), 21,5×14 cm. Illustrated periodical guide featuring 'a selected listing of current museum and gallery exhibitions'. On front cover the legendary photographic portrait of Keith Haring by Annie Leibovitz is reproduced promoting her exhibition at Robert Klein Gallery. Boldly signed and dated in black marker by Keith Haring.  

condition: Near Fine.
Michelangelo Pistoletto: I am the Third, 1980 (signed silkscreen)
1980, 105×73 cm. Large silkscreen print from I am Third series. In this autobiographical work, Pistoletto appropriates a drawing by his father, Ettore Olivero Pistoletto. While a departure from his signature mirror works, this piece involves a similar sense of reflexivity, exercised on a more personal level, invoking notions of memory, legacy and familial identity. Signed and dated. Edition of 100 copies this one being a printer's proof marked '6/6 p.p.'.

condition: Excellent  
Louise Bourgeois at Monika Sprüth Galerie, 1990
Köln: Monika Sprüth Galerie, 1990 (11), 61×45,2 cm. Poster cum exhibition invite printed on newspaper stock. Features the iconic photographic portrait of Bourgeois by Peter Moore, in front of her NYC residence wearing her latex sculpture Avenza (1968-1969).

condition: Folded as issued for mailing. VG+.  
Louise Bourgeois and Tracey Emin: DO NOT ABANDON ME, 2010
New York: Carolina Nitsch Project Room, 2010 (09), 10,2×13,6 cm. Exhibition invitation card printed with delicate letterpress on thick quality yardstick. Signed by Tracey Emin. *** 'Do Not Abandon Me', [is] a collaboration between Louise Bourgeois and Tracey Emin consisting of sixteen intimate works made over the past two years. These drawings articulate physical drives and feelings, candidly confronting themes of identity, sexuality and the fear of loss and abandonment through joint expression. 'Do Not Abandon Me' originated with Bourgeois, who began the works by painting male and female torsos in profile on paper, mixing red, blue and black gouache pigments with water to create delicate and fluid silhouettes. Bourgeois then passed the images on to Emin, who later confessed: 'I carried the images around the world with me from Australia to France, but I was too scared to touch them'. Emin overlaid Bourgeois's forms with fantasy, drawing smaller figures that engaged with the torsos like Lilliputian lovers, enacting the body's desires and anxieties. In one, a woman kisses an erect phallus; in another, a small fetus-like form protrudes from a swollen belly. In many, Emin's handwriting inscribes the images with a narrative, putting into words the emotions expressed in Bourgeois's vibrant gouaches. This suite of prints was one of the last projects Louise Bourgeois completed before her death. Hauser & Wirth

condition: Not mailed. Fine.  
[Hannah WILKE] Julia Stoschek Collection Number Twelve: Hello Boys, 2016
Düsseldorf: Bonner Kunstverein, 2016 (02), 58,5×42 cm. Unusually formatted exhibition invite / poster printed on synthetic fabric as a kind of flag. Designed for group show with participating artists: Eleanor Antin, Lutz Bacher, Lynda Benglis, Jen DeNike, Trisha Donnelly, VALIE EXPORT, Barbara Hammer, Joan Jonas, Marie-Jo Lafontaine, Klara Lidén, Martha Rosler, Gwenn Thomas, Hannah Wilke. Features recto a still from Wilke’s video performance Hello Boys (1975). These flags were apparently sent out thus this copy is folded. *** Hello Boys documents a performance at the Gallery Gerald Piltzer in Paris. Seen through the glass of a large fish tank, Wilke, nude, performs a repertoire of studied erotic gestures to the accompaniment of rock music. Entrapped in her fish bowl, on display behind glass, she is both subject and object. Suggesting the iconic female figure of a mermaid, with its ambiguous implications of sexual power and powerlessness, Wilke explores the representation of female sexuality and the male gaze. electronic arts intermix

condition: Folded else Near Fine.  
Hannah Wilke: Through The Large Glass, 1978
New York: Ronald Feldman Fine Arts, 1978 (03), 20,4×12,5 cm. Exhibition invitation card published in conjunction with a solo show of Hannah Wilke 'with videotapes and related works'. Recto features a b&w still of Wilke's performance 'Through the Large Glass', at the Philadelphia museum of Art based on Duchamp's major work. *** In the performance, which ambiguously plays out the roles of bachelor and bride, artist and art-object, voyeur and erotic object, as she is seen directly behind Duchamp's "Large Glass," Wilke uses the Glass as a stage, a framing device for her own moving, ultimately nude, figure within the abstract configuration of Duchamp's work, both complementing its intricate illusions and challenging its relegation of experience to intellectual knowledge. Her interest in using her body as a living sculpture relates closely to earlier sculpture, in which repetitive pattern, gestural composition and subtle change are of paramount importance. The video contrasts sharply with the formal gestures and aesthetic concentration of the film, unfolding the serio-comic sequence of events that led up to and surround the actual shooting session. Through the Large Glass was originally made in a different form for the full-length feature film "C'est la Vie Rrose," which was produced and distributed for German television by Hans-Christof Stenzel. Ronald Feldman Fine Arts

condition: Not mailed. Near Fine.  
Hannah Wilke: So Help Me Hannah one of 48 Ray Gun Photos, 1978
Hannah Wilke: So Help Me Hannah one of 48 Ray Gun Photos, 1978 - P.S.1. New York [New York]: self-published, 1978, 15,4×10,9 cm. Artist postcard / edition. *** In 1978, Wilke was invited to create a series of works for New York's P.S.1. Her response was to go to the location in question and have her husband, Donald Goddard, take a series of photographs of her wearing nothing but high-heeled shoes and often carrying a small gun. In the shots with the gun, Wilke's slow movements across ten television monitors was captured; these were overlaid with a recording of Wilke reading quotations from male politicians, philosophers, and artists. The photographs were made to prompt viewers to listen to the quotations in a new context and without their usual cultural preconceptions - inserting herself into positions of male power and authority, something that was emphasized by the gun. As Wilke herself put it, "after a few minutes people forget the nudity and begin to listen to what I have to say in the quotations by Nietzsche, Hitler, Oldenburg, or other artists and historians." So Help Me Hannah, as Amelia Jones argues, constitutes a dynamic merging of body and mind, seamlessly combining Wilke's self-confident (female) posturing with the intellectual content of the chosen (male) thinkers, thus inserting women into male history in a dramatic way. Goddard later recalled, "We must have taken about six hundred pictures all over the building: on the roof, in the basement, on the compressor, in the toilet. Hannah was naked the whole time. People would walk by with a kind of composed nonchalance. It was very funny and wonderful. But Hannah was very matter of fact about it." This reminiscence underscores Wilke's confidence in her own body and her use of it unflinchingly as a medium in a way that had not been attempted before in the history of art. theartstory

condition: Not mailed. Near Fine.  
Hannah Wilke: ART News Revised, May 1976, pp. 34-35, 1977
ART News Revised, May 1976, pp. 34-35 · Installation photo: Ponder-r-rosa Series · Ronald Feldman Gallery [New York]: self-published, 1977, 16×12 cm. Artist postcard / edition. *** The installation's title Ponder-r-rosa refers to the US steakhouse chain Ponderosa and to Marcel Duchamp's alter ego Rrose Selavy and its underlying pun, Eros c'est la vie. Wilke's critical involvement with Duchamp shows in several of her works from the 1970s. While in Art School, she visited the Philadel- phia Museum of Art, where she saw Duchamp's last work, Étant donnés: 1° la chute d'eau, 2º le gaz d'éclairage... (1946-66).Although she admired Duchamp, she found the work "repulsive." (...) In Art News Revised, a 'performalist' self-portrait taken during the exhibition of the Ponder-r-rosa series at the Ronald Feldman Gallery in 1975, she poses topless with her jeans open, leaning against the labial 'roses' of latex. Amelia Jones comments: "Typically, [...] Wilke unveils her body/self among her works to instantiate herself as both their 'subject' and a parodic imitation of worran as conventional 'object' of artistic practice (the female (here almost] nude)." (Jones, Body Art) Jeanette Kohl, 2015 [Ref: Jeremy Cooper, The world exists to be put on a postcard, 2019, p. 36 (illustrated); Venus as a Muse, 2015, p.89]

condition: Not mailed. Near Fine.  
Hannah Wilke: Gum with Grasshopper - California Series 1976, 1977
[Los Angeles]: self-published, 1977, 11,5×16 cm. Artist postcard / edition. Wilke made the California Series of photographs at the home in Havenhurst Drive, Los Angeles, of her elder sister, Marsie Scharlatt. Gum with Grasshopper, with her vaginal mini-sculptures placed on petals of hibiscus, became a self-published postcard the following year [Jeremy Cooper, 2012]. *** According to Joanna Frueh, in an essay written for a Hannah Wilke retrospective, “it was Wilke, not Judy Chicago as some believe, who originated vaginal imagery, as signature, as feminist statement, and as universal symbol. (...)" (...) Wilke also placed her vulva-like sculptures on flowers, such as in the photograph Gum with Grasshopper (1976). Wilke observed as she conducted her performances that “people are frightened by female organs because they don’t know what they look like.”The labial gum sculptures, read as vulva or vulva and womb simultaneously, also evoke imagery of unexpected growths, emotional and psychological scars, and tiny wounds, “identified with feminine pleasure and pain.” Wilke’s simplifications of female sexual organs also evoke the sensuality of plants and flowers with their organic shapes and layering, especially when the sculptures are placed directly on flower petals and leaves, as in Gum with Grasshopper. Andrea Frownfelter, 2010 [Ref: Jeremy Cooper, Artists' Postcards, 2012, p. 57 (illustrated); Jeremy Cooper, The world exists to be put on a postcard, 2019, p. 36 (illustrated); The British Museum, 2018,7009.138]

condition: Not mailed. Near Fine.  
Donald Judd: Escultures 1965-1987, 1988
Barcelona: Fundació Joan Miró, 1988 (02), 70×50 cm. Exhibition poster.

condition: Light handling wear. VG+ / Excellent  
Charlotte Posenenske: Formen aus Alublech gekantet gewölbt lackiert kombinierbar, 1967
Giessen: Galerie Sous-Sol, 1967 (05), 42,5x30 cm. Exhibition poster / invite - designed by Paul Maenz - published in conjunction with the 4th solo show by Charlotte Posenenske - out of only eight she had during her lifetime and only the second after she devised her signature idiom with industrially inspired sculptures of aluminium, steel or cardboard, whose modular components could be combined and reproduced at will. Soon afterwards, "she stopped working as an artist in 1968, no longer believing that art could influence social interaction or draw attention to social inequalities. Instead, she turned her attention to sociology until her death in 1985, becoming a specialist in employment and industrial working processes. She refused to visit any exhibitions during this period, or show her work." [Martin Pesch, Frieze, 2000] In the Giessen exhibition, Posenenske presented her works “Relief B” and, for the first time, “Relief C". Extremely scarce, as all material from her lifetime.
condition: Folded twice as issued for mailing. Near Fine.
Peter Roehr: Ausstellungs - Ausstellung., 1967
Schwenningen: Kleine Galerie [art direction Paul Maenz], 1967 (05), 42,5x31 cm. Exhibition poster / invite published in conjunction with the 4th solo show by Peter Roehr - out of only five he had during his brief lifetime. In an extreme gesture of auto-appropriation this document incorporates the invite for his previous show as this one was a 'repetition' within a small timeframe. We read "That was the invitation to the last Roehr exhibition. In Frankfurt, four weeks ago. It consisted of ten identical works (black, 120x120). Roehr, 22, makes assemblies from identical prefabricated parts. His concept. This concept applied to an exhibition: ten identical works. Actually quite simple. We are interested in this [and] we are showing this exhibition again. From April 22nd to May 18th, 1967. Come to the opening on Friday, April 21st, 8 p.m. We look forward to your impressions." Extremely scarce, as all material from Roehr's lifetime. *** Roehr’s magnum opus, Schwarze Tafeln (Black Tablets, 1966), first exhibited at the Galerie Adam Seide in 1967, and recently acquired by the Städel Museum, is a series of ten identical 119-centimetre-square pieces, composed of 35 black cards laid out in a 5:7 ratio. While Ad Reinhardt and Frank Stella had also recently created their own entirely black canvases to address the ‘end of painting’ – and which indeed they branded their ‘final paintings’ – these had still been applied with a brush. Roehr pushed the concept even further, trying to completely remove the hand of the artist. Ironically, in their monumentality and sombre tone, the panels are highly emotional: it was in 1966 that Roehr had learned of his terminal illness. By the time of the show, he was already very sick. These would indeed be his ‘final paintings’ and it’s appropriate that in them he successfully merges his goals: seriality, reduction of content, autonomy of the object and its surrounding space. With these, the young German contemporaneously matched the groundbreaking explorations of artists such as Donald Judd, even if it took the world another 40 years to notice. [Amanda Coulson, Frieze, 2010]
condition: Folded twice as issued for mailing. Near Fine.
[Body Art] Body as a Visual Language, 1977
Tokyo: Gallery Maki, 1977 (01), 16x21 cm. Softcover. Stapled. Unpaginated. English. Exhibition catalogue published in conjunction with an early show of body art in Japan. For most of the participants this was the first presentation of their work in the country, while a surprising number of them came from Eastern Europe avant-garde circles pointing to an obscure and little researched connection between Japan and this thriving, underground scene. Participating artists: Marina Abramovic / Ulay, Jaroslav Andel, Monika Baumgartl, Hiroshi Fujii, Geoffrey Hendricks, Hiroyuki Iwano, Kazoo Kenmochi, Miroslav Klivar, Karel Miler, Jan Mlčoch, Maurizio Nannucci, Minoru Nishiki, Klaus Rinke, Alan Sonfist, Jan Steklik, Stelarc, Petr Štembera, Keiji Uematsu, Timm Ulrichs, Jiri Valoch, Krzysztof Zarebski. There is an almost punk aesthetic to this publication with handmade correction on the cover and raw b&w photography. Profusely illustrated features two critical texts, aritsts' statements and addresses for each artist (!). Rare.
condition: This copy suffers from spotting - mostly visible on cover. Else clean and tight. VG/VG+
Jean Dupuy : en 4ème vitesse, 2008
Paris; La Seyne-sur-mer; Nice: Sémiose éditions; Villa Tamaris Centre d'art; Villa Arson, 2008, 29,5x22 cm. Softcover. 63 pp. French. Catalogue / monograph documenting the surviving paintings from the early to mid '60s by Jean Dupuy. Signed and dedicated by Dupuy on title page. Inlaid, signed silkscreen print [21x29,6 cm]. *** (...)Heart Beats Dust prefigures today’s technophilia in the arts. If you also consider the fact that Dupuy had bid painting adieu in 1967, when he destroyed much of his work in the medium before moving to New York, then you can understand my surprise at this small show, “Jean Dupuy en 4eme vitesse” (Jean Dupuy Going Full Speed), which brought his surviving paintings from 1964 to 1966 to light once again after a long slumber. In these canvases, the largest of them about six and a half feet tall and five feet wide, Dupuy had dripped acrylic paint of various colors in unidirectional lines on smooth white grounds. My first impression was that these were polished offshoots of art informel. (...) But upon closer inspection, Dupuy’s secret was revealed. These canvases were not at all the product of some wannabe Pollock. In fact, each “drip” had been carefully painted in, the immediacy of the gesture being a calculated illusion in which a photograph of an originally much smaller work on paper had been projected at large scale onto a canvas that Dupuy then meticulously filled in with color. Now why would someone in his right mind do such a thing? We know that American Pop artists liked to paint from projected photos. But their reference images were usually recognizably culled from popular culture. When their finished works did depict things like brushstrokes, as Roy Lichtenstein’s did, the paintings tended to be tongue-in-cheek and ironic. Dupuy’s paintings, in contrast, seem relatively earnest, as if the artist were still trying to preserve something of the aesthetic seriousness to which art informel aspired. As a result, the work has much more in common with that of other deconstructors of the pictorial mark working in Paris in the early to mid-1960s, people like Simon Hantaï, Martin Barré, or even Daniel Buren, than it does with art informel. What the folded canvas, the spray can, and the preprinted striped fabric did for these artists, respectively, is what trompe l’oeil did for Dupuy: That is, it provided a means of mechanizing the process of painting. (...) Paul Galvez, Artforum
condition: VG+.
John M Armleder and Olivier Mosset at Stadtische Galerie Regensburg, 1986
Regensburg: Städtische Galerie Regensburg, 1986 (09), 26,5x20 cm. Exhibition invitation card.
condition: Mailed. VG+.
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