Tokyo: Mikishuppan. 255 black and white photographs printed using the heliogravure method. Original color photo-illustrated self-wraps. Paperback with printed cover. Text by Uchida Eiichi. The strong erotic element of this work would become a characteristic of Araki's style. Female models are photographed nude in front of a plain background. Pubic hair is, in conformity with Japan’s censorship laws, covered with dark marker pen.
Nobuyoshi Araki Senchimentaru no Tabi. (Sentimental Journey), 1971
9 1/4 x 9 1/4 in. (23.5 x 23.5 cm)
Tokyo: Privately printed, 1971. Araki is a major celebrity, but when this book was self-published in 1971, he was unknown. It is a photo diary of Araki's honeymoon, including an image of a gravestone that provides an eerie foreshadowing of a later book chronicling his wife's death. All the elements that make Araki a world-class photographer are on full display here: the juxtaposition of the erotic and the banal, the expressionless beauty of modern Japanese life, the unadorned image, reduced to its bare necessity. Sentimental Journey is one of the most important Japanese photobooks published. After hundreds of books and significant fame, it remains Araki's best and most influential work.
Nobuyoshi Araki | Senchimentaru no Tabi. (Sentimental Journey) | 1971 | Zucker Art Books
3 / 52
Tauba Auerbach [2,3], 2011
20 5/8 x 16 3/8 x 4 3/8 in. (52.7 x 41.9 x 11.4 cm)
For [2,3], Auerbach has created an oversized pop-up book featuring six die-cut paper sculptures that unfold into elaborate forms. While much of Auerbach’s work has previously dealt with compositions staged in the flux state between 2D and 3D, [2,3] represents an expansion for the artist towards a more sculptural medium. Engineered by the artist, each “page” opens into a beautifully constructed object, intricately conceived so that the large-scale paper works—some up to 18” tall—can be collapsed totally flat. The six sculptures in [2,3] take their cue from a range of geometric forms—the pyramid, sphere, ziggurat, octagonal bipyramid (gem), arc, and möbius-strip. The use of a bright, contrasting palette is familiar from Auerbach’s previous work across a range of materials, including acrylics, etchings and C-type prints. This groundbreaking project stands as an astonishing art-object, part bookwork and part sculpture, and represents an advance in the field of pop-up technology. The six volumes will be housed in a specially designed slipcase, and each folio will measure 20” x 32” when open. [2,3] is co-published by Tauba Auerbach and Printed Matter, Inc. in a signed and numbered edition of 1,000. Although the edition was 1000, the book was unfortunately published shortly before Hurricane Sandy. The publisher's storage space was inundated with flood waters and the bulk of the edition was destroyed, making the few copies that were dispersed pre-Hurricane Sandy hard to locate.
Bound book of 14 hard and soft ground etchings on natural Gampi and Rives de Lin papers. Text by Balka, letterpress. The artist paid homeless people on the streets of California to allow him to imprint their bare feet (mostly toes) on a copper plate to make these prints. The result is a startling collection of strong but subtle images that reflect the frailty of human existence. The edition is limited to 25 copies: 1–10 are bound books; numbers 11-25 are portfolios of loose pages. There are three sets of artist’s proofs. Published and printed by Edition Jacob Samuel, Santa Monica, CA. Edition of 20 copies
Former Warhol Factory acolyte, Berlin narcissistically documented her life via Polaroid photographs. This book is a unique example from a series of “tit paintings”—colorful prints made by pressing her painted or inked breasts on paper. Inscribed “For Bob with love, Brigid.” Ex-collection Robert Rauschenberg.
Brigid Berlin | Untitled | 1972 | Zucker Art Books
6 / 52
Alighiero Boetti I Mille Fiumi Più Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
8 3/8 x 6 3/8 x 2 1/8 in. (21.5 x 16.5 x 5.5 cm)
Deluxe issue with hand sewn cover. Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. 1006 pages.
Boetti worked with Anne-Marie Sauzeau on this book for over seven years. The desire to reduce the world to the binary logic of “right or wrong” may well be an acrobatic feat of highly refined, abstract intelligence but it is knowledge that bypasses the world. At the time, the world’s rivers hadn’t been measured and measurements fluctuated substantially, regarding not only the source, but even the course and the mouth of the rivers. Fluctuations up to 100 miles in length were no exception. In the book, each page is devoted to one river with a factual list of its technical data. The book conveys metaphor, process, and reality. This copy is #31 of 150 deluxe copies, with hand-sewn cover. Ex-collection Umberto Morera.
Alighiero Boetti | I Mille Fiumi Più Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world) | 1977 | Zucker Art Books
7 / 52
Alighiero Boetti I Mille Fiumi Pi√π Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world), 1977
8 3/8 x 6 3/8 x 2 1/8 in. (21.5 x 16.5 x 5.5 cm)
Printed by Boetti in Ascoli Piceno, 1977. Text by Anne-Marie Sauzeau-Boetti. Edition with red cover, numbered; 1006 pages. Produced over seven years, Boetti collaborated on this book with art critic Anne-Marie Sauzeau. Boetti had a keen interest in the relationship between chance and order, numbers and the world in various means of organization and classification, and the ways in which cultural order is imposed on the complexities of nature. Known to many scientists as ‚ÄúBoetti List,‚Äù the thousand plus-page book categorizes a thousand waterways in order of their length according to the most reliable documentary sources at the time. Each page is devoted to one river with a factual list of its technical data. The book conveys metaphor, process, reality‚Äîat once poetic and scientific. Edition of 500 copies.
Alighiero Boetti | I Mille Fiumi Pi√π Lunghi del Mondo (Progetto) (Classifying the thousand longest rivers in the world) | 1977 | Zucker Art Books
8 / 52
Irma Boom Hommage √† Kelly, 2016
8 x 6 in. (20.3 x 15.2 cm)
Designed as a tribute to one of her inspirations, the minimal artist Ellsworth Kelly, who passed recently. The enormous 1,216-page volume of offset pure color blocks is encased in a clamshell black box and printed in a limited edition of only 99 copies, each signed and numbered in pencil. Amsterdam: Slewe Gallery. This is copy #95.
Irma Boom | Hommage √† Kelly | 2016 | Zucker Art Books
9 / 52
Louise Bourgeois ODE A LA BIEVRE, 2007
Louise Bourgeois was born in Paris in 1911. In 1919, her family moved to the Parisian suburb of Antony where the Bièvre River "cut across the garden in a straight line". The river was key to their relocation as it was imperative to the family's business of tapestry restoration for the washing of the tapestries. In 2002, Bourgeois would distill her emotions and memories of the river and the garden in an important unique fabric book entitled ODE À LA BIÈVRE. In the book she reminisces through images and text, "With the soil from that river we planted geraniums, masses of peonies, and beds of asparagus ...and honeysuckle that smelled so sweet in the rain." Using her own garments as raw material to make sewn fabric collages, she evoked feelings and memories through lines, shapes and colors. Years later, Bourgeois was to go back to the house with her own family only to find the river to no longer exist, "only the trees that my father had planted along its edge remained as a witness". This 2007 book faithfully reproduces that original fabric work. Each book is signed and numbered on the colophon and includes two signed photographs digitally printed on Verona paper and mounted on 300 gram watercolor paper with the respective titles: "The garden in Antony, 1921" and "The Bièvre River, 1951." Housed in a blind embossed slip case each book is uniquely bound with hand dyed and distressed linen.
Louise Bourgeois | Album | 1997 | Zucker Art Books
11 / 52
Robert Breer Image Par Images, 1955
4 7/8 x 3 5/8 in. (12.5 x 9.1 cm)
A unique flip book using only lines in movement dedicated to Robert Rauschenberg. Breer was best known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials. Breer was an experimental filmmaker, painter, and sculptor. This unpaginated flip book is an experiment that helped him transit from painting to films. "I made a flip book of small paintings to try to understand how I arrived at making this final painting. I was working in very simple geometric forms, hard edge, conventional, you know, more or less conventional neo-plasticism. So, this first flip book then became the basis for a film on my next visit to America, which was that year, 1952, and yet I didn’t really use those original images. I had to invent my own system because I had no training in filmmaking at all and certainly none in animation. I only knew that I had to do one frame at a time."
Robert Breer | Image Par Images | 1955 | Zucker Art Books
12 / 52
Marcel Broodthaers La Conquête de l'espace, (The conquest of space), Atlas, 1975
19 1/4 x 24 3/4 in. (49 x 63 cm)
Lithograph in black ink; untrimmed sheet of the pages of a posthumously published miniature book by the artist called "The Conquest of Space: Atlas for the Use of Artists and the Military".
From the edition of only 50 copies. HC copy no. VII with Estate stamp on back.
Published by Lebeer Hossmann Éditeurs, Brussels and Hamburg
Marcel Broodthaers | La Conquête de l'espace, (The conquest of space), Atlas | 1975 | Zucker Art Books
13 / 52
Marcel Broodthaers La Conqu√™te de l'espace, Atlas √† l‚Äôusage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military), 1975
1 7/16 x 15/16 in. (3.8 x 2.5 cm)
38 pages in slipcase, offset lithograph, containing silhouettes of a selection of 32 countries of the world shrunk to the same scale as Belgium, with no difference in size, arranged alphabetically. Published by Edition Lebeer Hossmann, Brussels and Hamburg. A tiny and most rare important final artist's book by Broodthaers that plays on language, scale, and function‚Äîit is transportable, but useless. This book was published shortly before the artist's unexpected death in 1976 thus all copies remain unsigned and are stamped ‚ÄúEstate M Broodthaers‚Äù and numbered by the publisher. Number 17 of 50 copies.
Marcel Broodthaers | La Conqu√™te de l'espace, Atlas √† l‚Äôusage des artistes et des militaires, (The conquest of space, atlas for the use of artists and the military) | 1975 | Zucker Art Books
14 / 52
Sigrid Calon To the extend of / \ | &, 2012
13 3/8 x 18 in. (34 x 46 cm)
Within the grid and beyond the pattern. Deluxe edition portfolio of only 10 copies consisting of 120 compositions printed on 300 gram Munken Pure uncoated paper. This work arose out of Calon’s fascination with color and a grid—an embroidery grid, to be precise—with a minimal basic grating of 3 x 3 dots. With these dots, 8 different embroidery stitches can be made. A book without text, it reads easily, with work that displays some extraordinarily disciplined and dedicated research, placing abstract forms rhythmically with tremendous chromatic power and opulence. Each color combination in this book appears only once. Edition of only 10 copies. The sold out book was an Edition of 420.
Sigrid Calon | To the extend of / \ | & | 2012 | Zucker Art Books
15 / 52
Pia Camil Xiuquilla/Blue milk weed, 2017
19 5/8 x 19 5/8 in. (50 x 50 cm)
Hand sewn cotton accordion pleated leporello book, with screen printing, in cloth box with colophon. Published by Zucker Art Books, NY. Edition of 8 variants, with 2 AP. Each copy is signed and numbered. Each book is handmade from repurposed textiles the artist found in Mexico City. Camil’s interventions include cutting shapes common in making of clothes such as sleeves, collars, torsos, and recombining them in a colorful array, hand sewn into a double sided sequence. She designed small buttonholes in between the panels so the work can be hung as a banner as well, choosing either side for display. This sort of interaction between the work and the viewer is a key element throughout Camil’s oeuvre, which includes works to be worn or walked on.
Pia Camil | Xiuquilla/Blue milk weed | 2017 | Zucker Art Books
16 / 52
Marc Chagall Les Sept péchés capitaux (Seven Deadly Sins), 1926
10 x 3 1/2 in. (25.5 x 9 cm)
15 etchings and one etching printed in sanguine, with two additional suites of the 15 etchings printed in sanguine (one on China paper and the other on Japan paper), with an original pen and ink sketch for one of the etchings. The text contains essays by Jean Giraudoux, Paul Morand, Pierre Mac Orlan, André Salmon, Max Jacob, Jacques de Lacretelle, and Joseph Kessel. Publisher: Simon Kra, Paris. Printed by Louis Fort. This is one of 15 deluxe copies on Japan paper, from an edition of 300. Numbered 4 on the justification with the drawing.
Marc Chagall | Les Sept péchés capitaux (Seven Deadly Sins) | 1926 | Zucker Art Books
17 / 52
Salvador Dali Don Quixote de la Mancha, 1957
17 5/8 x 12 1/2 in. (45 x 32 cm)
With 12 color lithographs. This Don Quixote trilogy is comprised of Don Quixote: The Warrior's Heard, Don Quixote: The Gift of Mandrino, and The Story of Don Quixote. In this trilogy Dali depicts Don Quixote, Cervantes' idealistic Spanish nobleman who fancied himself a knight fighting the world's injustices; he saw flocks of sheep as enemy armies, and served the causes of truth and beauty. It has been said that Don Quixote's quest was an allegory of the eternal search for goodness and truth, with an idealism that appeared to be madness in a world that sometimes viewed heroism and love as a form of insanity. How interesting Dali must have found this satirical romantic!
Salvador Dali | Don Quixote de la Mancha | 1957 | Zucker Art Books
18 / 52
Paolo Gasparini La Llave de la Carretera, 2012
9 5/8 x 13 1/8 in. (24.5 x 33.5 cm)
vol. 25 Paolo Gasparini photographs José Agustin text Normal Studio case In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs. Each work contains 4 diptychs made of two prints, opposite each other, with the shape of a creek cut out of the text block.
Paolo Gasparini | La Llave de la Carretera | 2012 | Zucker Art Books
19 / 52
Andreas Gursky Montparnasse, 1995
19 1/2 x 11 in. (49.5 x 28 cm)
Two square quarto vols., and oblong folio photo-reproduction. Original silver coated wrappers, printed in black, original silver coated portfolio, printed in black, all laid into the original silver papered box. A fine copy, with the print in fine condition. First edition, offset lithograph in color, on wove paper, with text book and book of reproduction of blown up images. Andreas Gursky is a German photographer best known for his vast color architectural landscapes. His point of view is often so far from the object that it is difficult to tell what it is. In this photograph, hundreds of windows simply become tiny squares and lose their meaning as architecture.
Andreas Gursky | Montparnasse | 1995 | Zucker Art Books
20 / 52
Carsten Holler Key to the Laboratory of Doubt, 2006
Anamorphic key, cast in sterling silver, approx. 3 1/8 x 3/4 x 1/8in.(8 x 2 x 0,5 cm). Polished stainless steel cylinder, 1 1/2 x 3/4 in.(4 x 2 cm). Silver necklace approx. 27 1/2in (70 cm). Production and 3-D scanning by Factum Arte Madrid. Initials engraved and numbered.
Carsten Holler | Key to the Laboratory of Doubt | 2006 | Zucker Art Books
21 / 52
Jenny Holzer TRUISMS (selections from 1977-79), 2013
13 3/8 x 11 1/2 x 5 7/8 in. (34 x 29.5 x 15 cm)
Digital animation with HD mini-projector in custom enclosure.
published by platypus editions, new york
Edition of 12
49-minute digital animation loop, comprised of 232 Truisms, running alphabetically in two rotations, with 32 unique animations. Powered by internal battery (1.5 hours) or AC current. Housed in a portable stormproof carrying case, with enclosure, numbered and signature stamped on the bottom.
Projection distance at 20 ft/ 6m Image Size 7ft/2m high and 10ft/3m wide. Letter Size: 1ft high
Enclosure: 8x5.5x9.5In. (20,3x14x9,5cm); Case:13x11.5x6In (34x29,5x15cm)
Jenny Holzer | TRUISMS (selections from 1977-79) | 2013 | Zucker Art Books
22 / 52
Graciela Iturbide FRANCOLIN, 2009
9 x 11 3/4 x 1 1/8 in. (23 x 30 x 3 cm)
VOL. 15 Graciela Iturbide photographs- 4 signed platinum prints Abdourahman A. Waberi text Ryuji Mitani case- Japanese walnut hollowed out with a chisel by Mitani himself Edition of 30 copies Graciela Iturbide’s self-portraits have given rise to a story all about controlled violence. Waberi has summoned up the life of a frustrated rioter in an imaginary country, a wreck, cut off from Western society who sees himself as part of the animal species. Francolin finds relief for “his rheumatism with concoctions based on whitewash and ostrich eggs”. The story is divided into segments, each one taking up one of the four sections of the book which get smaller as the story unfolds.
Graciela Iturbide | FRANCOLIN | 2009 | Zucker Art Books
23 / 52
Kikuji Kawada Nude Theater, 1984
19 7/8 x 15 15/16 in. (50.5 x 40.5 cm)
Black leather portfolio containing 10 large silver gelatin photographs taken in 1981 on the artist’s trip through Europe, each one signed on the back. Kawada, known for his legendary book, "Chizu (The Map)", departs from his Provoke movement roots and photographs nude women in Old Master paintings. During this time Daido Moriyama and Keizo Kitajima were exhibiting their post-Provoke imagery using street photography and graphic imagery. Some 10+ years later Hiroshi Sugimoto took portraits of people in Old Master and Renaissance paintings, which may have been influenced by this project by Kawada.
Series of 30 plates (of which 15 in colors and partly with gilt print) by Klimt. Fine copy of this splendid and lavishly printed Viennese portfolio, a luxurious overview of Klimt's work. Loose sheets in green original cloth case with gilt-tooled cover title. One of 170 copies in very good condition.
Gustav Klimt | Eine Nachlese | 1931 | Zucker Art Books
25 / 52
Guillermo Kuitca Puro Teatro, 2003
15 5/8 x 16 in. (40 x 40.6 cm)
Portfolio of 12 loose prints using hard ground etching and spit bite aquatint techniques on Rives de Lin and natural Campi papers from the Shikibu Paper Mill. The plates were made in the artist's studio in Buenos Aires during August, 2002. Two pages of text written by the artist. Designed and printed by Jacob Samuel in Santa Monica, CA, with assistance from Eric Ziemann. The edition is limited to 25 signed and numbered copies, and six sets of artist's proofs. Numbers 1-10 are bound books; numbers 11-25 are loose in portfolio boxes. Edition of 25 copies
Guillermo Kuitca | Puro Teatro | 2003 | Zucker Art Books
26 / 52
Barry McGee Drypoint on Acid, 2006
7 3/4 x 6 1/4 in. (20 x 16 cm)
Portfolio of 10 prints in a variety of printmaking techniques and collaged silkscreen additions; in a wood box with silkscreen on lid.
Published by Edition Jacob Samuel, Santa Monica, CA.
These images employ collage elements from the artist’s vast collection of old industrial printed paper, which he embellishes with his own images depicting those who live on the margins of society.
Barry McGee | Drypoint on Acid | 2006 | Zucker Art Books
27 / 52
Beatriz Milhazes Meu Bem, 2008
14 1/4 x 11 3/4 x 1 1/2 in. (36.5 x 30 x 4 cm)
Meu Bem, which translates to “My Darling” from Portuguese, consists of 30 pages plus covers, each created by hand, using various complex print techniques including giclée, screen printing, foil blocking, and die-cutting, with detailed collage throughout. The book is hand sewn and in a case bound in a hard cover housed in a clear yellow acrylic box. For each book, Brazilian artist Milhazes has made an original, separate collage. Published by Ridinghouse. Edition of 38 copies.
Paperback, title printed on the green cover, in its original cardboard slipcase. 149 black and white photographs printed using the heliogravure method. Text by Shuji Terayama. This is the first publication entirely devoted to Moriyama's work. Images are violent and dark. Deeply influenced by William Klein's New York, Moriyama transforms texture, contrast, deformation, the accidental, and abstraction into a visual language representative of the Provoke movement in Japan.
Daido Moriyama | Nippon Gekijo Shashincho (Japan A Photo Theater) | 1968 | Zucker Art Books
30 / 52
Bruce Nauman LAAIR, 1970
12 x 12 in. (30.5 x 30.5 cm)
Castelli /Multiples Inc., New York, 1970. First edition. Square 4to.; illustrated throughout in color; printed wrappers;staple-bound. LAAIR was Nauman's follow up to CLEARSKY. He later said of the two books that, "CLEARSKY was a way to have a book that only had colored pages--pictures of the sky. I like the idea that you are looking into an image of the sky, but it is just a page. LAAIR was the same idea, but it is also a response to CLEARSKY using polluted colors instead."
Giulio Paolini Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, (What doesn't have limits and what of his own nature does not allow limitation of any kind), 1968
9 3/4 x 7 in. (25 x 18 cm)
The book is derived from a work, "Titolo, 1968", consisting of two large canvases placed side by side like two pages of an open book. Paolini states: ‚ÄúI placed all the letters from written names in my notebook.‚Äù As curator and critic Germano Celant observes, a name is just an abstract characterization that coincides with the person. This copy is one of only six copies numbered with Roman numerals, V/VI, where the title is handwritten on the cover of the book. In the regular edition of 50 copies, the title is printed on the mylar dustcover.
Giulio Paolini | Cio che non ha limiti e che per sua stessa natura non Ammette limitazioni di sorta, (What doesn't have limits and what of his own nature does not allow limitation of any kind) | 1968 | Zucker Art Books
32 / 52
Adam Pendleton Anthology, 2018
18 1/2 x 14 1/4 x 2 in. (47 x 36.2 x 5.1 cm)
Large folio with 200 compositions and a unique cover. Isolated photographs and fragments photocopied from the pages of books are layered with marks, dashes, patterns, shapes, and handwriting that frequently verges on abstraction. Each composition is unique, but many elements iterate and recombine throughout the series: masks, ceramics, phrases (“WHAT A DAY WAS THIS”; “IF THE FUNCTION”), and historical images related to modernism and decolonization in Africa. The book, which collates the works in chronological sequence, encourages readers to track these recurring components as they phase in and out across the book’s 200 pages. The compositions are directly related to Pendleton’s collages on mylar and the book translates and indexes these source collages which are usually printed on transparent film whereas in Anthology they have been silkscreened onto Shoji paper. Reflecting on the combinatorial nature of the compositions, each book has a unique cover: a patterned black-and-white canvas fabric, screen printed with one of four handwritten texts. Copy n 4 of 24
Adam Pendleton | Anthology | 2018 | Zucker Art Books
33 / 52
Giuseppe Penone Svolegere la propria pelle (Developing One's Own Skin), 1970/71
8 3/8 x 8 1/2 in. (21.3 x 21.7 cm)
104 pages, Sperone Editore, Turin, 1971. Penone mapped his entire body with hundreds of photos taken when pressing a sheet of glass against different parts of his body, assembling assembling the resulting images into grids. In these photographs the subject is seen “unrolling one's skin against air, water, earth, rock, walls, trees, dogs, handrails, windows, roads, hair, hats, handles, wings, doors, seats, stairs, clothes, books, eyes, sheep, mushrooms, grass, skin...” wrote the artist, reflecting on the quantity of voluntary and involuntary signs that bodies disseminate and spread onto different things. Unspecified edition size.
Giuseppe Penone | Svolegere la propria pelle (Developing One's Own Skin) | 1970/71 | Zucker Art Books
34 / 52
Michelangelo Pistoletto Cento mostre nel mese di ottobre (One Hundred Exhibitions in October), 1976
3 1/2 x 3 1/2 in. (9 x 9 cm)
Galleria Giorgio Persano, Turin. *signed on inside cover 100 pages with original wrappers of absorbent yellow blotting paper. Each copy contains an original drawing by Pistoletto on the front cover. For this example, the artist has chosen a series of dots and signed on the inside of the cover. A small cube, this is an artist’s book entirely without illustration, containing instead 100 brief descriptions of exhibitions, all imagined, one per page, in Italian on recto and English on verso. One Hundred Exhibitions was a sort of recipe book of shows and works, many of which were later carried out. Reference: MAFFEI Giorgio, Libri e documenti. Arte Povera 1966-1980, Edizioni Corraini, 2007, pp. 168-169.
16 leather bound books containing a total of 305 signed photographs with hand written time stamping.
On January 1, 1977, at 1:00 a.m. in Chicago, Roth devised an ambitious photo project for which he planned to take one photograph every hour, 24 hours a day, for 365 days of a year: every hour a shot of what simply lay in front of him at that particular moment. Although he abandoned this idea in March he self-published a set of 16 books in readymade bindings in a small edition of 3 which documents the idea. It is one of the key works of conceptual artists’ books of its time and is a testament to how far ahead of his time Roth's ideas really were. A prescient precursor of Instagram!
24 blue and orange hand-cut sheets with slots at 90, 75, and 60 degrees. With the 38cm square format, Roth goes back to smaller sized paper he started using in the early 1960s. This is copy 7 of the proposed edition of 25, signed and dated on title page.
Dieter Roth | Book HB (2. Aufl.) | 1973 | Zucker Art Books
38 / 52
Dieter Roth Book AA, 1964
15 x 15 x 3/8 in. (38 x 38 x 1 cm)
Hand cut book made in New York with 17 black and white hand cut sheets of paper. This copy was sold to the owner for $30 while Dieter was looking for work in New York during these hard times in August 1964 with the original hand written bill from the artist. Edition # 49/100
Roth's first published artist's book comprising 28 pages, 4 color linocut of geometric shapes with spiral binding. Created using just two shapes, the circle and the square, and the three primary colors, red blue and yellow plus black. Roth demonstrated his interest both in the accumulation of forms and in compositional symmetry. Edition of 100, few copies survive today.
Dieter Roth | Kinderbuch, Children's Book | 1957 | Zucker Art Books
40 / 52
Ed Ruscha Set of 16 books from Henry Hopkins, 1963-78
Set comprises 16 seminal books by the artist: Twentysix Gasoline Stations, Various Small Fires, Some Los Angeles Apartments, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Royal Road Test, Business Cards, Nine Swimming Pools, Crackers, Babycakes, Real Estate Opportunities, A Few Palm Trees, Dutch Details, Records, Colored People, and Hard Light. All signed or inscribed to Hopkins except Babycakes, which has the rare ”compliments of author card” signed "give to henry, Ed" from Ruscha enclosed. Hopkins was the curator at the LA County Museum in the 1960s and bought Ed's first painting for the museum. Henry Hopkins directed the San Francisco Museum of Modern Art before returning to UCLA, where he led the Wight Art Gallery and the Hammer Museum in Los Angeles. Dimensions variable.
Josh Smith | Orange Book | 2015 | Zucker Art Books
44 / 52
Kiki Smith Still Life, 2001
6 1/4 x 6 7/8 in. (16 x 17.5 cm)
Visual artist Kiki Smith and writer Lynne Tillman collaborate in this artist’s book designed in the spirit of a small and intimate medieval book of hours. The work consists of twenty-four color photographs in dialogue with the sentences of a short prose piece titled "The Lost City of Words." Sentiments of loss, memory, and the ephemeral nature of life are juxtaposed with objects found in Smith's studio: sculptural works-in-progress, luminescent glass bulbs, dead birds, items found in a makeshift bedroom. The book is elegantly presented in a case of molded plastic and closes with a clasp in wrought metal designed by Ronan & Erwan Bouroullec. Edition of 60.
Joel Stein | Jeux de trames (Play of Patterns) | 1962 | Zucker Art Books
46 / 52
Nakahira Takuma Kitarubeki Kotoba no Tameni. For a Language to Come, 1970
12 x 8 1/2 in. (30.5 x 21.6 cm)
Paperback with an illustrated cover and dust jacket. Original cardboard slipcase with title and name of author printed on the covering sticker. 103 black and white photographs printed using the heliogravure method. Text by Okada Takahido. Graphic concept by Kimura Tsunesisa. Nakahira was the instigator of the movement PROVOKE and, in a sense, its political conscience. This work reflects the best of the group's aspirational work even though it appeared well after they split up. Mainly nighttime photographs, these images taken between 1965-1970 have great expressive and lyrical force.
Nakahira Takuma | Kitarubeki Kotoba no Tameni. For a Language to Come | 1970 | Zucker Art Books
47 / 52
Shomei Tomatsu OO! Shinjuku, 1969
7 3/8 x 10 1/8 in. (19 x 26 cm)
Paperback with illustrated cover. 120 black and white photographs with the text by Shomei Tomatsu at the end of the publication. It is no coincidence that this publication appeared at the same time as the second issue of Provoke is no coincidence. The photographer's exploration of the Shinjuku gay district focuses on similar subject matter, namely sex, drugs and underground lifestyles. Tomatsu's work contrasts with that of Morriyama or Nakahira in its clarity and precision.
Complete set of four unsigned heliogravures in color by Cy Twombly and eight poems by Octavio Paz, hors-texte, title, justification, colophon, and reproductions of the artist's drawings, text in English and German, on smooth wove and laid papers, signed on the colophon by Paz and Twombly.
Published by Udo and Anette Brandhorst, Cologne.
100 copies of the Special Edition (the total edition was 1,000), bound in two volumes (as issued), with full margins, in excellent condition, original paper-covered portfolios, and original paper covered slipcase.
Christopher Wool Four Short Stories(4 parts), 2004
19 x 13 in. (48.3 x 33 cm)
A set of four color Inkjet prints on wove paper with full margins, printed by the artist, each one signed, dated, and numbered in pencil. Title sheet on copy paper. Published to benefit the Camden Arts Center in London. Edition of 65 copies.
Christopher Wool | Four Short Stories(4 parts) | 2004 | Zucker Art Books
51 / 52
Yun-Fei Ji Yun-Fei-ji The Three Gorges Dam, 2009
13 3/4 x 120 3/8 in. (35 x 306 cm)
Woodblock print, hand printed with traditional Chinese watercolor inks from 500 hand carved blocks of pear wood, on mulberry paper and silk, in silk bound case. Yun-Fei Ji's Three Gorges Dam Migration, the seventh in the series of artists' books inaugurated in 2002 by the Library Council of The Museum of Modern Art, is a hand scroll, the traditional "book" form of old China. This ten-foot-long horizontal image, hand-printed in China from over 500 hand-carved woodblocks, depicts the flooding and social upheaval caused by the construction of the Three Gorges Dam, on the Yangtze River in the central part of the country. A gradually unfolding narrative, Ji's scroll records the sometimes banal, sometimes dramatic effects of social and environmental engineering. The work reflects Ji's ongoing study of the human and environmental loss associated with one of the largest civil-engineering feats of recent times. Completed in 2012, the Three Gorges Dam will be the world's largest hydropower plant, generating enough electricity to serve four cities the size of Los Angeles. Meanwhile its immense reservoir has caused significant ecological change, displaced at least 1,200,000 people; it has submerged thousands of villages, aesthetically resonant landscapes, and valuable archaeological sites.
Yun-Fei Ji Yun-Fei-ji | The Three Gorges Dam | 2009 | Zucker Art Books
52 / 52
Andrea Zittel Rules of Raugh, 2005
10 1/2 x 15 in. (26.7 x 38 cm)
Portfolio of nine loose etchings using hard-ground etching and spit bite aquatint techniques on Magnani Pescia and colored Gampi papers, including one text page and a colophon, housed in a handmade wood box. The work of Andrea Zittel has many aspects and falls into many categories. She is a painter, sculptor, architect, carpenter, building contractor, seamstress, evolutionary biologist, graphic designer, fashion designer, anthropologist, inventor, social scientist, educator, research psychologist, and nutritionist. "Rules of Raugh" (a made up word, as in raw) is the artist’s comprehensive philosophy relating to objects and their usage. The primary questions addressed range over aspects of the relationship of humans to notions such as wear, obsolescence, adaptability, ease, progress, and expertise. The illustrations depict furniture designs for a house—multi-use objects for dining areas, bedrooms, kitchens, and workrooms are rendered as specific articles with their functions distilled to the essentials. Edition of 20 copies.