Friday, November 30, 2018
Continuous Project Altered Daily
New York City, USA: Multiples, Inc., 1970
 pp., 11.5 x 30.5 cm., accordion-fold
Edition of 1200
Continuous Project Altered Daily documents an installation of materials such as earth, water, grease, wood, plastic, felt, string, light, photographs, and sound. The form was, as the title suggests, altered daily.
Edited by Marian Goodman for inclusion in the Artists & Photographs box (which also included Christo, Douglas Heubler, Allan Kaprow, Joseph Kosuth, Sol LeWitt, Bruce Nauman, Dennis Oppenheim, Ed Ruscha, Andy Warhol and others) the leporello book presents 16 sepia-toned photos of the installation showing twelve stages of the work, along with detail shots of the piece.
Morris died Wednesday in Kingston, New York, from pneumonia. He was 87 years old.
Labels: Robert Morris
Siglio Press is currently offering 25% off and free shipping until the end of this weekend (December 2nd). This applies to titles by or about Sophie Calle, Dick Higgins, Ray Johnson, Nancy Spero, Marcel Broodthaers and others.
For the 25% off discount, use the code GIFT and to redeem free shipping (within the US) use the code FLYFREE, here.
Thursday, November 29, 2018
Wednesday, November 28, 2018
Lauren Fournier's review of Roula Partheniou's Bank of Montreal commission Cup and Ball - an installation of over a thousand works, almost all made from acrylic paint on wood - was just published by Canadian Art magazine:
"Partheniou has long worked in the expanded field of sculpture to create decoys. Best known for her mimetic work, Partheniou skillfully creates signifiers that disguise themselves as the signified: the cast-resin and foam balloon against the ceiling of the gallery that looks just like a real helium balloon (Untethered (Balloon), 2017), for example, or the wood-and-acrylic box of Lucky Elephant popcorn that appears to be a real box of popcorn (Cup and Ball, 2018). Indeed, if it weren’t for the artist’s deliberate play with different degrees of verisimilitude—sometimes an object looks identical to the thing it’s copying, while other times something is slightly changed (a label removed, or another detail missing)—those who happen upon her work might not realize it’s an art object at all. So often it’s the moment in which the trick is revealed that elicits such an awesome response in viewers."
Read the full article here:
For more information, visit the work's dedicated website, here:
Tuesday, November 27, 2018
Monday, November 26, 2018
The ME Block
New York City, USA: Josh Baer Gallery, 1989
34.3 x 31.8 x 33.7 cm.
Edition of 40 [+ 8 AP]
Made from Honduran mahogany, this work recently sold at Christies auction for $3,824, against an estimate of less than half that price.
Sunday, November 25, 2018
New York City, USA: Fluxus, 1964
18 pp., 2.6 x 11.9 x 10 cm., loose leaves
Edition size unknown
After witnessing a performance at Tokyo’s Sōgetsu Art Center, composer Toshi Ichiyanagi sent scores and recordings made by Kosugi to George Maciunas, just prior to his founding of Fluxus. Originally intended as a "complete works" collection (which could be added to as new scores were created) the collection was first advertised in Film Culture magazine in the fall of 1963 and released early the next year.
It was packaged in a modest white or clear plastic box, with variations on Maciunas' name plate design for the artist. It would be the only Kosugi work published by Fluxus, though other projects appeared in Fluxus newspapers and in the collective Fluxus 1 and Fluxkit boxes.
Kosugi died last month, on October 12th, at the age of 80. Read a recent obituary by Julia E. Robinson on the Artforum website, here.
Saturday, November 24, 2018
Derek Sullivan's exhibition ¶ * † ‡ closes today at Susan Hobbs Gallery, in Toronto.
The exhibition features 8 large scale drawings based on books: one each for Martin Kippenberger's Pscyhobuildings and the National Gallery of Canada's Donald Judd catalogue (both of which Sullivan has mined before) and six for a lesser known Art Metropole publication called Evidence of the Avant Garde Since 1957. Subtitled Selected Works from the Collection of Art Metropole Including Audiotapes, Records, Videotapes, Film, Multiples, Kitsch, Manuscripts, Stamps, Buttons, Flyers, Posters, Correspondence, Catalogues, Porn, T-Shirts, Postcards, Drawings, Poems, Mailers, Books, Photographs and Ephemera. Toronto, Ont.: Art Metropole, 1984, the book is edited by AA Bronson, Peggy Gale and Christina Ritchie.
"Derek Sullivan’s drawing series examines the question of how a book is perceived and the potential it carries. While many can appreciate a good story transporting us to a different head space, Sullivan wonders about the spaces a book physically travels throughout its lifetime. How many places does a book travel to and what does it pick up along the way?
In ¶ * † ‡, a closer look at Art Metropole’s Evidence of the Avant Garde Since 1957 reveals 6 new drawings that depict what one can only guess is the beginning of the book’s journey – the printing stage. In each work, 8 pages of the catalogue sit on the surface horizontally, forming a signature. The tops of the pages face one another, inviting a tilt of the head to read the content. The de-familiarized portrait of the book serves to emphasize the physicality of the codex.
Art Metropole’s original book illustrates a period in the artist-run centre’s existence that analyzed the distributive works from their collection up to 1984 when it was first published. As the front cover of the book states, “Evidence of the Avant Garde Since 1957 consists of: selected works from the collection of Art Metropole including audio tapes, records, videotapes, film, multiples, kitsch, manuscripts, stamps, buttons, flyers, posters, correspondence, catalogues, porn, t-shirts, postcards, drawings, poems, mailers, books, photographs and ephemera”. Sullivan’s drawings play with the content, serving as a replica to the original publication, while also introducing content that is replicable and multipliable in its essence. Signifiers collide and scatter on the surface, suspending the timeline of where content begins and where it ends."
- press release
Friday, November 23, 2018
Wednesday, November 21, 2018
London, UK: Cubitt, 1999-2000
20 pp., 28.2 x 23.5 cm., loose leaves
Edition of 100 [+20 AP]
Cubitt Gallery is an artist-run centre funded by the Arts Council of England, in conjunction with Cubitt Studios and Cubitt Education.
To support their ongoing programming, this limited edition set was offered for sale in 2000, featureing works by Martin Creed, Tacita Dean, Peter Doig, Ceal Floyer, Matthew Higgs, Gareth Jones, Alex Katz, Scott King, Jochen Klein, Hilary Lloyd, Paul McCarthy, Paul Noble, Chris Ofili, Peter Pommerer, James Pyman, Giorgio Sadotti, Jane Simpson, Wolfgang Tillmans, Piotr Uklanski and Elizabeth Wright.
Tuesday, November 20, 2018
This box contains the items you ordered
Rotterdam, The Netherlands: Publishing House Bébert, 1987
35 x 28 x 14.5 cm.
Edition of 160
This box contains the items you ordered is the second various artists boxed work from the Contemporary Archaeology Pandora. The first featured a cover design/text/title by Lawrence Weiner, with Jenny Holzer providing the third. Here, Ben Vautier's straight-to-the-point handwritten text provides the title.
Inside, another Vautier work, as well as contributions from Sophie Boursat, René Daniels, Klaas Gubbels, Sol Lewitt, Maarten Ploeg, Steef Roothaan, Reiner Ruthenbeck, Günter Tuzina, and Robin Winters.