vendredi 29 mars 2013

Helen Malone "That Unbearable Lightness"
Edition 15. 12.5cm  x 9cm  x 7cm . Folded structure with leather cords; inkjet prints of original drawings on 160gsm Fabriano paper.
«The book structure and the cover are intended to represent the physical symptoms of vertigo and the illustrations address the ambiguous psychological vertigo described by Milan Kundera in The Unbearable Lightness of Being.»

Source: biblio-tout

Pliages, Luce Meunier

Pour la poésie des formes et la simplicité des lignes.

jeudi 28 mars 2013

Livres accordeon, Tara Bryan

Source: TaraBryan

La rencontre, Deleuze

« Ce qui m'intéresse, ce sont les rapports entre les arts, les sciences et la philosophie. Il n'y a aucun privilège d'une de ces disciplines l'une sur l'autre. Chacune d'entre elles est créatrice. Le véritable objet de la science, c'est de créer des fonctions, le véritable objet de l'art, c'est de créer des agrégats sensibles et l'objet de la philosophie, créer des concepts. [...] Comment est-il possible que, sur des lignes complètement différentes, avec des rythmes et des mouvements de production complètement différents, comment est-il possible qu'un concept, un agrégat et une fonction se rencontrent?»
 Gilles Deleuze, Pourparlers 12 (1990)

A Box of smile, Yoko Ono

Yoko Ono, A Box of Smile, [Black Box]
New York, NY. 1971, 5.5 x 5.5.x 5.5 cm, Original Fluxus edition 

Opening the opaque plastic box that reveals a mirror in the bottom when opened, and the reflection of your smile inside. Also contains a folded paper with a printed photo of John and Yoko by Bob Gruen, with the text "A box of smile".

Source: Printedmatter 

mercredi 27 mars 2013

Une femme, Francesca Woodman

«Elle a cessé d'être mon modèle. Je suis devenue sensible à l'image féminine que je rencontrais dans L'Écho de la Mode et dont se rapprochaient les mères de mes camarades petites-bourgeoises du pensionnat: minces, discrètes, sachant cuisiner et appelant leur fille 'ma chérie'». Annie Ernaux, Une femme.



Je sens que la réflexion sur l'être-femme revient, dans  ma vie intime, et en écho, dans les réseaux sociaux.
Source: tumblr

mardi 26 mars 2013

Shit Must Stop, x6

Irving Petling (American artist, b. 1934). SMS No. 1 (open)

Marcel Duchamp (French/American artist, 1887-1968). SMS No. 2 (open)
John Battan (John Sebastian Matta) (American artist, son of Roberto Matta, 1943-1976). SMS No. 3 (open)

Robert Stanley (American artist, 1932-1997). Untitled. Cover design for SMS: A Collection of Multiples vol.4. 11 x 7 x-1/2 inches (closed)

Congo (Chimpanzee, active 1960s). Untitled. Cover design for SMS: A Collection of Multiples vol.5. Painting by chimpanzee whose creative activity was studied by Desmond Morris in The Naked Ape. Also William Anthony (American artist, b. 1934) Custer’s Last Stand. Inside cover drawing. 11 x 7 x-1/2 inches (closed). 

Richard Artschwager (American artist, b. 1924). Untitled. Cover design for SMS: A Collection of Multiples vol.6. 11 x 7 x-1/2 inches (closed)

Bruce Nauman (American artist, 1941). Footsteps. Magnetic tape around card containing sound loop. 7-5/8 x 10-3/4 inches

ollis Frampton (American artist, 1936-1984). Phenakistiscope. Paper disk with photographs for simulated motion. 6-3/4 inches, round

Yoko Ono (Japanese/American artist/composer, b. 1933). Mend Piece for John. Box containing materials and instructions to “Take your favorite cup. Break it in many pieces with a hammer. Repair it with this glue and this poem in three stanzas dedicated to John.”. 6-1/4 x 6 x-1/4 (case)

Robert Rohm (American artist, b. 1934). Cut Corners. Silver paper printed with pattern and scored for folding to form three sculptures. 11 x 7-1/8 inches (pieces)

Mel Ramos (American artist, b. 1935). Candy. Materials and instructions for assembling three-dimensional sculpture. 10-3/4 x 13-3/4 inches

Paul Steiner (American writer). Johns in Art Galleries. 24 index cards with typography. 3-1/2 x 5 inches

Centered around a loft on Manhattan's Upper West Side rented and maintained by the American Surrealist William Copley, SMS ("Shit Must Stop") was an open-ended collective that epitomized the community ethos of the late 1960s. Frequented by artists, curators, performers and composers both accomplished and aspiring, Copley's loft became renowned for its utopian morale and hospitable working conditions.

The six volumes of the SMS portfolio were the crowning achievement of Copley's experiment, embodying the spirit of the collective and serving as time capsules of an extraordinary moment in American art. Bypassing the institutions of museums and galleries, the portfolios were mailed directly to their subscribers, opening a direct line of communication between artist and audience. Each portfolio included meticulously editioned works by a roster of artists both world-famous and obscure--as well as some tongue-in-cheek contributions by art dealers and critics--each of whom received $100 for their contribution regardless of reputation or medium. Among the many artists and composers represented are Marcel Duchamp, Roy Lichtenstein, Man Ray, Christo, Richard Hamilton, Claes Oldenberg, John Cage, Terry Riley, and Yoko Ono.