A.A. Bronson, Peggy Gale (eds.): Museums by Artists (1983) [English/French]
Filed under book, catalogue | Tags: · art, art history, institutional critique, museum
“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, and Harald Szeemann.
Published on the occasion of the exhibition held at Art Gallery of Ontario, Toronto, 2 Apr – 15 May 1983.
Cover by Daniel Buren
Publisher Art Metropole, Toronto, 1983
ISBN 0920956130, 9780920956137
287 pages
via j.eagleton
PDF (57 MB)
Comment (0)Art & Language, 1966-1975 (1975)
Filed under catalogue, journal | Tags: · art, conceptual art, theory
Collection of essays by Art & Language published on the occasion of their exhibition at Museum of Modern Art Oxford in September 1975.
Publisher Museum of Modern Art, Oxford, UK, 1975
51 pages
via penfold
Commentary: Gívan Belá (His Voice 2016, CZ).
Comment (0)Yves Klein: Yves Peintures (1954)
Filed under artist publishing, catalogue | Tags: · art
This publication was Yves Klein’s first public gesture as an artist, featuring pages of “commercially printed papers” that were seemingly reproductions of paintings that, in fact, didn’t exist.
The booklet was produced by the engraving workshop of Franco de Sarabia in Madrid. The foreword, signed by Pascal Claude – his friend Claude Pascal – is composed of black lines instead of text. Ten vivid monochromatic plates follow, mechanically signed ‘Yves’, each given unspecified numerical dimensions and assigned a city: Madrid, Nice, Tokyo, Paris, and London. If, as is usual in exhibition catalogues, the dimensions refer to centimetres, the plates would represent medium sized easel paintings; if metres, large frescoes; if millimetres, then the plates are life size, leading to the conclusion that, rather than illustrations, they are the work itself. Klein would later create work in all three categories.
In a manuscript dated 13 January 1955, Yves Klein writes: ‘Last night, Wednesday, we went to an abstract cafe […], the abstracts were there. They are easy to recognize because they give off the air of abstract paintings and their paintings become visible in their eyes. Maybe I have illusions, but I feel like I can see it all. Anyway, we sat down with them… Then we got around to talking about the book Yves Peintures. Later on, as they insisted that I show it to them, I went to get it from the car and threw it on the table. Already, right from the first pages, the eyes of the abstracts changed: they lit up and deep down appeared the beautiful and pure unified colors.’
In October 1955, Klein exhibited for the first time his colored monochromes (orange, green, red, yellow, blue, pink) under the same title Yves Peintures at the Club des Solitaires in Paris. (based on source)
Published in Madrid, November 1954
[6]+[10] color plates (tipped-in colored papers of various dimensions and hues, pasted on paper)
24.4 x 19.7 cm
via Yves Klein Archives
PDF (2 MB)
PDF (different version, 18 MB, added on 2016-9-25)
JPGs (5 versions)