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Lepzig & Berlin, Teubner, 1930. Large tall 8vo uncut and still unopened unread copy in publishers wraps as issued. 27x19. XX+216 pp. + 78 plates with 120 reproductions and photos + 2 pp. book list. Printed wrappers, a sensational fine copy of the scarce first edition. First edition, 1st printing = Studien Der Bibliothek Warburg # 18.

Osaka: Visual Arts, 1999. Tall 4to in wraps as issued, complete with original obi. 111 pages, illustrated throughout. Captions and intro in both Japanese and English. Excellent clean well preserved copy. FIRST EDITION, 1st pritning. - Born in Osaka, 1971, Arimoto currently lives and works in Tokyo, Japan. Graduated from Visual Arts Osaka in 1994, Arimoto received the 35th Taiyo Award in 1998 with his work Portrait of Tibet . In 2008, he founded the Totem Pole Photo Gallery. Arimoto published Tokyo Circulation with Zen Foto Gallery in 2016 and won the 26th Tadahiko Hayashi Award as well as the Photographic Society of Japan s Lifetime Achievement Award in 2017. His other publications include ariphoto selection (No. 1-10, Totem Pole Photo Gallery) and TIBET (Zen Foto Gallery, 2019). Actively presenting his work in and out of Japan, he held a solo show at Le Plac'Art Photo, Paris in 2017 and participated in the group exhibition Am Rand der Gesellschaft. Barlach Springer Arimoto at Museum Bautzen, Germany in 2019. "Arimoto ventured the Tibetan Culture Area that included parts of China, India and Nepal and took these fresh and vibrant works in monochrome as he shared meals and living space with the people he met in Tibet" (---) “In 1994, while still in my early 20’s and fresh out of photo school I went to India to photograph. Six months into my travels the backpack in which I was keeping my exposed film - over 150 rolls - was stolen. This incident ultimately signified a turning point in my understanding about photography which continues to this day. Soon after this I went to Nepal. In Kathmandu, I encountered a Tibetan family who were on a pilgrimage to Dharamsala. My relationship with this family grew as we shared meals and our living space. As the days passed I began to feel a strong desire to see their homeland with my own eyes. Soon after however, my neglected health caught up with me and I was hospitalized with hepatitis. A further examination diagnosed a heart condition and I was forced to return home to Japan. My condition improved after returning to Japan. Once I had recovered I found work as a day laborer to save money for a trip to Tibet. Reading up on the country and studying the language consumed me as the days passed. One year later, in 1996, I set foot in Tibet. I’ll never forget that thrill. Everything that had happened so far - every coincidence, incident, and tribulation, had brought me to this point. Looking back I realize that most of my twenties were spent with Tibet. Having started out as an empty vessel, it was Tibet and my experiences there that made me full.”

Copenhagen: Chr. Cato, 1932. 4to uncut in original stiff wraps. 48 pages, illustrated richly with color illustration to front and one very fine color print (fotoet). Cover by Arne Ungermann. Wrappers lightly worn at edges else an excellent copy. Erste Ausgabe. - Interessanter dreisprachiger Katalog (deutsch-englisch-französisch) mit reichem Abbildungsmaterial. Gezeigt werden dänisches Glas und Keramik, Möbel, Textilien, Metallarbeiten, Bucheinbände u. a. / Edition originale / First edition. Very rare indeed.

New York: Grove Press, Inc., 1968. Paperback with all edges red as issued. 451 (1) pp. Only minor wear to extremities else clean and overall a very good well preserved copy. First edition, first paperback printing (stated) of Warhol's first novel, an experimental collection of four word-for-word transcriptions of tapes recorded by Warhol and Ondine between 1965 and 1967. "A Novel", Warhol's knowing response to James Joyce's Ulysses, follows an uninterrupted twenty-four hours in the life of Ondine, an actor who was famous mostly as a Factory fixture, Warhol film superstar and devoted amphetamine user. Warhol hired four typists (including Maureen Tucker, the drummer for the Velvet Underground and two high school girls) to transcribe audio tapes of conversations between him and Ondine between 1965 and 1967 and the book is a verbatim printing of the typed manuscripts, containing every typo, abbreviation and inconsistency that the typists produced from the twenty-four tapes (each chapter is named for its respective tape and side, from '1/ 1' to '24/ 2'). In his glossary for the 1998 edition of a, A Novel, Victor Bockris cites Billy Name, the book's editor, as the source for the title; "a" refers to both amphetamine use and as an homage to e.e. cummings. a, A Novel was the second of several publishing projects Andy Warhol produced in his lifetime. Warhol wanted to be a writer but much like his film work, spontaneous performances and an explicit lack of editing was used as a device. Warhol wanted to write a "bad" novel, "because doing something the wrong way always opens doors." Four typists were employed to transcribe the Warhol/Ondine tapes. Maureen Tucker, the drummer for the Velvet Underground was an expert typist. However, she refused to transcribe the swear words and left them out. Two high school girls were hired to work on some of the tapes. When one girl's mother heard what they were listening to she threw out the tape, losing several hours of conversation. All four hired typists transcribed the dialogue differently, some identifying the speakers, others not. The editor for a, A Novel, Billy Name, preserved the transcripts as is, with every typo and inconsistent character identification, and even moving from two column pages to single-column based on each typist's style. The final printed version was identical to the typed manuscripts. The book is a roman a clef, meaning that the fictional characters are thinly disguised actual persons. The "cast" is itemized in the glossary written by Victor Bockris in the 1998 paperback edition. A run-down of the major characters in the book are: Ondine is Robert Olivo, a Warhol superstar. Drella is Warhol himself (he was nicknamed by Lou Reed as "Drella" because Reed felt it fit both sides of Warhol's persona, being a combination of Cinderella and Dracula).Steve is Stephen Shore, a photographer who worked with Billy Name. Paul is Paul Morrissey, who had just joined the group and would eventually become the director of Warhol's later films. Lucky L is Paul America, newly popular in the Factory crowd for starring in My Hustler. Gerard Malanga was the star of many Warhol films, and is the only person whose real name is used in the book. Taxine or "Taxi," is Edie Sedgwick, the great female Warhol superstar. A, a novel was the beginning of the end of their relationship. Ingrid is Ingrid Superstar, a Warhol Superstar, who was brought to the Factory to "replace" Edie in late 1965. Rink or "Rink Crawl" is Chuck Wein, responsible for bringing both Edie and Ingrid to the Factory. Irving Du Ball is Lester Persky, a film producer. Moxanne is Genevieve Charbon, a French actress who Edie met in Paris that year. Rotten Rita is Kenneth Rapp, who, with Ondine and Billy Name, made up the "A-heads Trio." Rita was also known as the Mayor, like Ondine was known as the Pope. The Duchess is Brigid Polk, whose real name was Brigid Berlin. She would be Warhol's companion for the rest of his life, although he did not take part in her only conversation in the book. Billy Name is Billy Linich, a photographer who worked closely with Stephen Shore. He was also the designer of the Factory. Do Do or "Do Do Mae Doome," is Dorothy Dean. She worked at The New Yorker in the 60s. The Sugar Plum Fairy is Joe Campbell (actor) who starred in My Hustler and Nude Restaurant. Ron Via is Ronnie Vial, a member of the underground. Oxydol is Olympio Vasconzalez, who starred in Conquest of the Universe with Ondine. Lou is Lou Reed of the Velvet Underground, whose album cover Warhol created.

Yale University Press for Philadelphia Museum of Art, 2009. Large heavy hardcover with dustjacket. 447 pages, richly illustrated with 343 full-color and 117 black-and-white illustrations. Also includes a Foreword by Alice Beamesderfer and Gail Harrity, Acknowledgements and Introduction by Michael R. Taylor, a four-chapter section covering the Genesis, Construction, Installation and Legacy of this piece, three Technical Essays by Andrew Lewis, Melissa S. Meighan, and others, Plates, Documentation translated by Paul Edwards, a Select Bibliography by Claire Howard. Excellent clean copy. First edition. - "Published to commemorate the fortieth anniversary of the original installation of Étant donnés and to accompany the first major exhibition on the work and its studies, this richly illustrated book presents a wealth of new research and documents that draw upon previously unpublished works of art, photographs, and other materials. Examines the critical and artistic reception of Étant donnés, as evidenced by the subsequent work of Les Levine, Hannah Wilke, Robert Gober, Marcel Dzama, Ray Johnson, and other artists who have engaged with Duchamp's provocative and challenging tableau-construction." Étant donnés was Marcel Duchamp's final work and, per his instructions, installed after his death. The piece was a surprise to the public because it was assumed Duchamp had retired completely from art making after 25 years spent playing competitive chess. A gorgeously produced catalog benefiting from the filter of time through which the meaning, context, and influence of this challenging work of art can be better understood". - A heavy and oversized item that may require additional shipping - please inquire.

Leonard & Bina Ellen Art Gallery / CONCORDIA UNIVERSITY Vancouver, 2010. Thick heavy 4to in wraps as issued. 416 pages. Text in both English and French. Illustrated. Fine clean copy. First edition. - Documents: Art Workers’ Coalition, N.E. Thing Co., Joyce Wieland, Intermedia Society, A Space, Véhicule Art (Montréal) Inc., General Idea / Art Metropole, Image Bank, Western Front Society, Glenn Lewis, Michael Goldberg, Vidéographe Essays by Vincent Bonin, Anne Bénichou, Marion Froger, Kristy A. Holmes, Primary Information, Felicity Tayler and David Tomas. Essays by V. Bonin, A. Bénichou and M. Froger. his major historical publication reproduces over 250 documents from the 1960s and 70s drawn from 10 archival fonds and includes an introduction, a contextualizing essay and 6 case studies. - In the mid-1960s, Canadian artists suffered from cultural isolation as museums were indifferent to their work and the international art market seemed beyond reach. Artists made up for this state of exclusion by creating alternative spaces in which they could present experimental work and offer services to members of their communities. Documentary Protocols (1967-1975) addresses a historical moment in which the investment of the concept of information by artists converged with the role of administrator they bestowed upon themselves. The historical trajectory of these self-managed organizations can now be observed in their archival fonds, where the results of partially realized utopias exist alongside material evidence of the artists’ labour. Following the decompartmentalization characterizing the period, the editorial structure of this publication provides equal visibility both to the sampling of documents and to the case studies based on the close reading of these items.

New York: Hearst Magazines / Harper's Bazaar, 1939. Large magazine format in original wrappers, wrappers edgeworn and wear to spine (see photos) but solid. 148 pages, richly illustrated, and complete issue. In all an attractive copy. A very rare 1939 vintage Harper's Bazaar issue with original cover by Brodovitch. Also many photos by Hoyningen-Huene and others, plus a fine double spread showing Impression of the New York World's Fair by Stuart Davis in color. Alexey Brodovitch (1898–1971) was a pioneer of graphic design who invented a prototype of today's fashion magazines. In the early 1930s, Brodovitch made a revolution in the world of magazines by integrating images with text on the pages of Harper’s Bazaar. Brodovitch can be rightfully considered as the father of advertising and fashion photography and the tutor of photographers Irving Penn and Richard Avedon. A Russian born, Brodovitch joined the first wave of immigrants and started his career as a decorator in Sergey Diaghilev's theater in Paris. His job was not just to create posters and decorations for the Diaghilev's Ballets Russes. He also took photos of artists behind the stage during rehearsals and try-ins. His first success in design was a prize at poster contest for charitable ball party: the young artist from Russia took the Grand Prix hustling away nobody but Pablo Picasso. In 1934, Alexey Brodovitch accepted an offer to take the office of Harper’s Bazaar art director in New York and stayed there for several decades – till 1958. In America, he introduced a brand new minimalist style emerged in Europe in 1920s under the influence of avant-garde movements and art deco style in industrial design. Upon Brodovitch initiative, Harper’s Bazaar collaborated with his friends Salvador Dali, Marc Chagall, Raoul Dufy, Joan Miró, Jean Cocteau, the master of posters and type designer Adolf Kassandr, photographer Man Ray, and many others. Besides, Brodovitch founded a network of Design Laboratories which offer a truly invaluable apprenticeship for design people, the alma mater for many American designers and photographers.

Boston & New York: Oxford University Press and Norton, 1984 to 1998. 5 hardcover volumes all well preserved and clean and complete with dustjackets. More than 2.500 pages in all. Attractive set. NB: Please note that foreign shipping will cost extra - please inquire before ordering!

New York: Conde Nast, 1930. Magazine in original wraps as issued. Illustrated richly in b/w and color. 156 pp. Wear to spine and cover and edges (see photos). Inside overall clean and in all a good to very good well preserved copy. Fashion designs by Wanamaker, Stern, Vionnet, Gunther, Chantal, Altman, Jean Patou, Rose Descat, Agnes, Reboux. Photos by Jay-Thorpe, Steichen, Lee Miller. Illustrations by Cecil Beaton, Meserole, Mourgue et al.

London: Neville Spearman Limited, 1956. Slim tall 8vo in publishers cherry red textured paper covered hardcover boards,with unclipped only slightly rubbed original dustjacket in black, grey and red. 163pp. Minor discoloring to endpapers. Name of previous owner to inner cover at front else clean and overall a well preserved attractive copy. 1st edition, First Impression.

Tokyo: Mitsumura / Editions Miro, 1979. Large tall 4to hardcover, no jacket as issued. (26) pages, illustrated in bold colors. Text in Japanese and English. Minor wear to edges. Original envelope with four Hatao Matsuda postcards included (see photos). Very good attractive copy. First edition, inscribed 1989 to Nanna Ditzel, perhaps on occasion of her Awarded Gold Medal at the International Furniture Design Competition, Asahikawa, Japan,

Bierke Verlag, 2016. Hardcover 21 x 28,5 cm 272 pages with around 400 illustrations. Text in both German and English. Only very light wear to cover else clean and fine. First (and only) edition. - "Honey-Suckle Company wanted to start a youth movement. The legendary group was founded in Berlin in 1994 and was moving in the subcultural circles of the post-Wende times, around the nightlife and social groups which they influenced with their projects in the public spaces of Berlin Mitte. In the beginning outside the art world HSC organised happenings and exhibitions in places like Friseur or the Suicide Club, and held gigs with their band Batterie ON/OFF. The legendary galerie berlintokyo (1996-99) at Hackescher Markt became such a self-organised location, on top of which HSC had their studio. In 1998 Klaus Biesenbach und Hans-Ulrich Obrist invited them to be part of the first Berlin Biennale. The name Honey-Suckle was from the start a conceptual element in their approach as a group and referred to one of 38 essences of the honey suckle therapy. Honey-Suckle helps to learn from the past and to invest in the present time while looking ahead. In that way HSC worked like an “avant-garde production team” with fragments from Bauhaus, the Russian avant-garde or spiritual societies like Lebensreform in projects that built upon each other. The individual contributions of members who each specialised in a certain artistic field had to hold a step back in favour of the collective authorship. Exhibitions and site-specific installations followed at PS1 New York (Children of Berlin, 1999), Künstlerhaus Stuttgart (Eswerde, 2003), Cubitt Gallery London (OHN END, 2005) and Kunsthalle Basel (NON EST HIC, 2006). The aesthetic elements and associative installations were further reduced and led to the, so far, last exhibition Materia Prima in 2007 at Kunstverein Harburger Bahnhof, where the group literally dissolved into essences: Each member could only be experienced as a fragrance essence. This book is a retrospective monograph covering, for the first time, the complete artistic and inter-disciplinary oeuvre of Honey-Suckle Company over the last 20 years – with documentations, numerous photos, scenic installations and extensive material from the artists’ archive; accompanied with texts by Abel Auer, Philipp Ekardt, Lina Launhardt, Michael Hiltbrunner, Reimo Herfort/Franz Schütte (Jeans Team), Tim Voss and Lily Wittenburg. The work of Honey-Suckle Company unfolded against the backdrop of an emerging transformation and gentrification of Berlin Mitte, which makes this monograph a rare document of a different time. Text by Abel Auer, Philipp Ekardt, Lina Launhardt, Reimo Herfort/Franz Schütte (Jeans Team), Michael Hiltbrunner, Tim Voss, Lily Wittenburg, Tobias Rapp, Janna Sittnick, Elke aus dem Moore, Adam Szymczyk, und/and Honey-Suckle Company. Design by Hendrik Schwantes.

Zone Books, 1989 and 1990. Thick 8vo (s). Volume 1 w name and some edgewear else a clean and overall very good clean and well preserved set. Around 1.500 pages. Illustrated. NB: Very heavy set and extra shipping will be added, please inquire before ordering this set! Complete set, volume one in 2nd printing, the other two are first edition, 1st printings. "The forty-eight essays and photographic dossiers in these three volumes examine the history of the human body as a field where life and thought intersect. They show how different cultures at different times have entwined physical capacities and mental mechanisms in order to construct a body adapted to moral ideas or social circumstances — the body of a charismatic citizen or a visionary monk, a mirror image of the world or a reflection of the spirit. Each volume emphasizes a particular perspective. Part 1 explores the human body’s relationship to the divine, to the bestial, and to the machines that imitate or simulate it. Part 2 covers the junctures between the body’s “outside” and “inside” by studying the manifestations — or production — of the soul and the expression of the emotions and, on another level, by examining the speculations inspired by cenesthesia, pain, and death. Part 3 brings into play the classical opposition between organ and function by showing how organs or bodily substances can be used to justify or challenge the way human societies function and, conversely, how political and social functions tend to make the bodies of the persons filling them the organs of a larger body — the social body or the universe as a whole. Among the contributors to Fragments for a History of the Human Body are Mark Elvin, Catherine Gallagher, Françoise Héritier-Augé, Julia Kristeva, William R. LaFleur, Thomas W. Laqueur, Jacques Le Goff, Nicole Loraux, Mario Perniola, Hillel Schwartz, Jean Starobinski, Jean-Pierre Vernant, and Caroline Walker Bynum. “[In these three volumes] there are riches all around, and stories strange but true, and things [the reader] will not have heard before.” —Washington Post Book World“ - "ZONE is unequivocally the most innovative, informative, and intellectually stimulating journal I have ever encountered…It belongs in all but the smallest personal, public, and academic collections.” Library Journal.

Copenhagen: Royal Danish Ballet School / Det Kongelige Teaters Balletskole, 1970's. 20 vintage photographic prints, various sizes, most measure around 17 x 24 cm. Overall well preserved. "Artistically, Johnsen towers above the vast majority of his contemporaries, and in the period 1967-96, during which he photographed the Royal Danish Ballet and leading international companies such as New York City Ballet, Alvin Ailey American Dance Theater and Martha Graham Dance Company, he was indisputably his country’s foremost photographer of dance.His photographs uniquely document the work of these outstanding companies in that period. Johnsen’s photographs show taut, lithely elegant bodies captured in mid-movement, beads of perspiration often visible on the skin, his camera preferring always to be as close as possible" (From the foreword to "Dance in the Mirror"). 

Madrid, Hatje Cantz & Turner D. A. P., 2002. 4to. Original photoillustrated wrappers as issued. Unpaginated (160 pp). Illustrated throughout with colour photos by Daniela Rossell, texts by Barry Schwabsky. Near fine copy with only light surface marks to cover. A funny and disturbing book of photographs about Mexico's super- rich. The women, and occasionally the men, pose in front of enormously tacky mansions and luxury apartments with glittery decor, fur and stuffed animals. 'Ricas y famosas' is mixing modern contemporary and classical Mexican documentary photography. Included in 'The Photobook' Volume II (Parr & Badger, 321). First edition.

New York: The Museum of Modern Art, 1968. Small 4to hardcover in the original metal binding by Anders Österlin. Illustrated in b/w and blue. 218 pages. Light wear to metal binding but overall an attractive very good copy. First edition. Cover design by Anders Österlin, after photograph by Alicia Legg. The most iconic 20th Century modern art exhibition catalogue.

Paris: Internationale Situationniste, 1960. 8vo in original metallic red-orange coloured wrappers with "mirror" inside covers. 38 pages. Spine slightly sunned and with some metallic color missing in one spot (see photos). Inside clean and bright and overall a near fine copy 1. edition. The editorial board consisted of: Asger Jorn, Helmut Sturm & Maurice Wyckaert.

New York: Hearst Magazines / Harper's Bazaar, 1939. Large magazine format in original wrappers, wrappers edgeworn and wear to spine (see photos) but solid. 104 pages, richly illustrated, and complete issue. In all a very good copy.  A very rare 1939 vintage Harper's Bazaar issue with original cover by A.M Cassandre, the legendary Art Deco poster artist. Also in this issue Anita Loos wearing Paul Flato's jewelry and photos by Kollar, Munkacsi, Louise Dahl-Wolfe (fx. Schiaparelli dress in front of Brancusi sculptures..), Herbert List, Hoyningen-Huene, George Platt Lynes.

Copenhagen: Royal Danish Ballet School / Det Kongelige Teaters Balletskole, 1980's. 10 vintage photographic prints, various sizes, from around 22 x 17 up to around 22 x 30 cm. Overall well preserved.

London:From the Proceedings of the British Academy, Volume XIX, 1933. Tall 8vo with wraps bound in fine private paper covered hardcover with title gilt on red label. Name (Gregersen) to top of titlepage in ink and name of previous owner in ink to inner cover. Inside clean and overall a very good well preserved copy. First edition, rare. - Susan Stebbing (1885–1943), the UK's first female professor of philosophy, was a key figure in the development of analytic philosophy. Stebbing wrote the world's first accessible book on the new polyadic logic and its philosophy. She made major contributions to the philosophy of science, metaphysics, philosophical logic, critical thinking and applied philosophy. Nonetheless she has remained largely neglected by historians of analytic philosophy. "Susan Stebbing was a leading figure in British philosophy between the First and Second World Wars. She made significant contributions to the development of the analytic tradition, both in establishing it institutionally and in showing how its ideas and techniques could be applied in a wide range of domains. Her early work focused on logic and during her lifetime she was celebrated chiefly for A Modern Introduction to Logic (1930), which offered an account of both traditional, Aristotelian logic and the new mathematical logic associated particularly with the work of Russell and Whitehead. She went on to be both an important proponent of what came to be known as the Cambridge School of Analysis and an advocate of the relevance of logic to everyday questions and problems. In her early work on logic and increasingly in her later work on thinking and reasoning, she stressed the ways in which language is used and misused in ordinary communication and argued that philosophers must pay heed to these uses and misuses. Stebbing felt increasingly compelled to engage with practical contemporary issues and to address a wider public audience. Philosophy and the Physicists (1937) and Thinking to Some Purpose (1939) offer, respectively, critiques of the language used in popular science communication and in everyday genres such as political speeches, advertisements, and newspaper editorials. Towards the end of her life, her interests in logic and language became increasingly socially directed and politically engaged. Stebbing’s work foreshadowed a number of important subsequent developments both in philosophy itself and in linguistics." - In the 1930s, Stebbing wrote a series of articles devoted to distinguishing different types of philosophical analysis and their strengths and weaknesses. It is in this context that she considers logical positivism. Stebbing is broadly sympathetic to the then-new philosophical movement, especially given the central role its proponents assign to analysis in philosophical practice. To Stebbing, the logical positivist approach to philosophical analysis seemed similar to that inspired by Moore, yet potentially different in important ways, especially in how they understand ‘analysis’ and ‘facts’. Her 1933 British Academy lecture, “Logical Positivism and Analysis” here offered in a rare original print is concerned, then, with understanding Wittgenstein’s conception of analysis “in relation to the philosophical practice of Moore”. (Paul L. Franco).

Paris: Internationale Situationniste, 1963. 8vo in original metallic yellow-golden coloured wrappers with white inside covers. 68 pages. Spine slightly worn at top of spine (see spine). Inside clean and bright and overall a very good copy. 1. edition. The editorial board consisted of: Asger Jorn, Helmut Sturm & Maurice Wyckaert.

Copenhagen: Space Poetry, 1997. 8vo in original photoillustrated blindstamped wrappers. Unpaginated. Illustrated throughout with color photographs. Only minimal shelfwear to cover, overall a very good clean copy. Photobook by Danish artist Tal R. Included in Parr & Badger, Vol III and chosen as one the 28 most important Danish photobooks for the catalogue and exhibition '28 Danish Photographic Books' (2006) in connection with exhibition 'The Open Book' by The Hasselblad Centre (2004). First edition.

Toronto: Art Metropole, 1983. Small 4to in wraps as issued. 304 pages, richly illustrated. Front corners a bit rubbed else very good copy, clean and tight. First edition. - Published in conjunction with show held at Art Gallery of Ontario, Toronto, April 2 - May 15, 1983. Traveled to Musee d'Art Contemporain, Montreal, September 15 - October 30, 1983 ; and Glenbow Museum, Calgary, November 18, 1983 - January 7, 1984. Texts by AA Bronson, Peggy Gale, Jean-Christophe Ammann, Michael Asher, Anne Rorimer, Harald Szeemann, Ursula Wevers, Marcel Broodthaers, Benjamin H.D. Buchloh, Daniel Buren, James Lee Byars, Marcel Duchamp, Robert Filliou, R. Austen Marshall, General Idea, Walter Grasskamp, Daniel Spoerri, Image Bank, Donald Judd, Hans Haacke, Wulf Herzogenrath, On Kawara, Garry Neill Kennedy, Joseph Kosuth, Les Levine, Glenn Lewis, George Maciunas, Piero Manzoni, N.E. Thing Co. LTD., Claes Oldenburg, Coosje van Bruggen, and Garry Schum. "An anthology of texts and works exploring the relationship of the artist to the museum, from Marcel Duchamp's seminal 'Boite-en-Valise' and Claes Oldenburg's 'Mouse Museum' to the critical work of Hans Haacke and Daniel Buren. Harald Szeemann's proposal for the 'Museum of Obsessions' at a future Documenta is here reproduced in English for the first time. With texts / works by Jean-Christophe Ammann, Michael Asher, AA Bronson, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Marcel Duchamp, Robert Filliou, Vera Frenkel, General Idea, Walter Grasskamp, Hans Haacke, Wulf Herzogenrath, Image Bank, Donald Judd, On Kawara, Gary Neill Kennedy, Joseph Kosuth, Les Levine, Glenn Lewis, George Maciunas, Piero Manzoni, Claes Oldenburg, Museum of Conceptual Art, N.E. Thing Company Limited, Garry Schum, Harald Szeemann." . Covers by Daniel Buren, and complete with original pink insert by James Lee Byars. "Museums by Artists was organized by Art Metropole, a business specializing “in materials, related to avant-garde practice” and a member of ANNPAC [Association of National Non-profit Artists Centres]. Art Metropole has also published a book of the same name to accompany the exhibition, the third in a series—Video by Artists and Performance by Artists having preceded it. The ideal of artists’ self-representation as expressed in the title poses a problem here. This self-representation has become instead a principle of accommodation to the museum. Everything about “museums” by artists has been included in this exhibition without an overview or critical principle of organization. That critical principle is what we expect when the most constructive work of the recent past has been critical of the museum. In this exhibition that critique is just one point of view among others. When all these different “museums” are brought together in the museum, does this mean that the museum critique has lost its power, or has it been subverted? Or did this work always accommodate itself to the museum in a dialogue that produced a formal tautology? Or is another strategy operating in Museums by Artists? In whose interest is this accommodation to and so-called “inhabitation” of a museum? Museum by Artists brings together those artworks relating to the museum: works quoting, mimicking or criticizing its classifying and collecting. By the evidence of the works in this exhibition, their forms, formats or framing devices are threefold, although each overlaps the others. They can quote the procedures of the museum or archive as models for its own processes in the miniaturizing or conceptualizing of a collection, with its basis in Duchamp’s Boite-en-Valise, and including Robert Filliou, Glenn Lewis, Les Levine, On Kawara and the N.E. Thing Co. Some can be a global metaphor for one’s own artistic production, with Claes Oldenburg’s Mouse Museum, being a personal collection of objects “classifying” the larger system of his own work, and General Idea’s “The 1984 Miss General Idea Pavillion” with its “destruction” in 1977 and subsequent archaeological retracing serving as exam-ples. Or they may take actual form within the museum, or its stand-in, the gallery, as museological critique: Marcel Broodthaers, Daniel Buren, Hans Haacke, Joseph Kosuth and Garry Neill Kennedy."

Offset lithographic poster on heavy paper, signed in black marker by Serra at the lower center, 48 x 31.5 inches, unframed, published by Gagosian Gallery. Only minor edgewear. Rolled.

Verlag: Studio Dumont, 1973. Oblong large 4to in wraps as issued. Illustrated throughout with text in both German, Italian and English. A truly sensational copy, never opened and still in publishers thin wrapping paper. The first book by Ursula Schulz-Dornburg, 1st edition, 1st printing.