Friday, August 17, 2018
Saturday, August 11, 2018
Wednesday, August 8, 2018
Sarah Sze at The Fabric Workshop and Museum
Philadelphia, USA: The Fabric Workshop and Museum, 2014
80 pp., 12 x 0.8 x 12.8", hardcover
Edition size unknown
Featuring texts by Arthur Danto, Jonathan Gilmore, Jeffrey Kastner and Marion Boulton Stroud, this volume documents an exhibition of site-specific artwork at The Fabric Workshop in 2014.
Labels: Sarah Sze
Tuesday, August 7, 2018
Los Angeles, USA: Gemini Editions, 2014
11 x 9 x 7 cm.
Edition of 75 signed and numbered copies
Ceramic Earthenware with Low fire Black and Ultramarine Gloss Glaze, produced in an edition of 75, of which 38 created for the Whitechapel Gallery and 37 for Tate, each accompanied by a signed and numbered certificate.
Labels: Richard Tuttle
Monday, August 6, 2018
Sunday, August 5, 2018
Three Eyed Face
New York City, USA: Pop Shop, 1985
10 x 10 x 3.7 cm.
Edition size unknown
Alongside the Radiant Baby and Barking Dog, the Three Eyed Face is one of Haring's most iconic images. It has adorned buttons, patches, stickers, condoms, t-shirts and many other Pop Shop items. Here it is used as the graphic for a plastic hand-held transistor radio.
Labels: Keith Haring
Saturday, August 4, 2018
Theatre of the Object: Event Scores 1956-2016
Achill Island, Ireland: Redfoxpress, 2016
18 screenprints, 76 pp. book, boxed
Edition of 50 signed and numbered copies
Available for $75 US, from the publisher, here.
Friday, August 3, 2018
New York City, USA: Racolin Press, 1971
45.7 × 50.8 cm.
Edition of 230 signed and stamped copies
"Opal Gospel is among Rauschenberg's best known multiples, a three-dimensional "book" consisting of Native American stories, songs, poems and found imagery printed on a series of transparent acrylic pages which rest in a Lucite base. Rauschenberg's design encouraged the viewer to remove and read the various pages and re-arrange them in novel combinations, thus altering the object's appearance and meaning. For him, the work's evocative power was magnified by incorporating the idea of chance, which in this case is provided by the viewer's active participation. Reflecting on the work's content and meaning, Rauschenberg noted that "Spiritually and factually, [Native American] drawings improved the hunt and chronicled their history both generally and personally so that it could be understood by other tribes and other generations. It could be read or felt at one instant. [Art] should be a form of therapy."
Labels: Robert Rauschenberg