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AGENTS AND SPECTATORS. 1966/7. THE ORIGINAL UNIQUE TYPESCRIPT - POSSIBLY UNPUBLISHED.Coventry: s.p. (artists and Art + Language), n.d. (probably 1966/7) 33 x 20cm (foolscap), 6 original hand typed pages (recto only) in homemade typed laid grey paper cover. Stapled and part bound with (too short) original slide binder. Thoughts on the co-relationship between language and thought (c.f. Vygotsky). Minor stains and marks to wrappers and old sellotape to the top of the slide binder which could easily be removed. One hand addition (probably by Atkinson) to the text in pencil on page 6. As far as we know this was prepared for Bischofberger as one of the books the latter intended to publish but was never produced. Unique thus.
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NOTE TYPOGRAPHY FOR TEXT BOOK OR ENCYCLOPEDIA. 1967.Zurich: Editions Bischofberger, 1967 30 x 21cm, 28pp + typographic covers. Slide binding. Printed recto only plus wrappers. Stapled. First edition of this artists’ book. A detailed investigation into philosophical logic when applied to aesthetics with a consideration of Wittgenstein’s considerations on perception and consciousness. Very good condition although there is some pencil underlinings and one extensive neat pencil note from an unknown hand. Rare
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(ART) OBJECT SPECIFICATION 1. 1966/67. ONE OF “VERY FEW PUBLISHED COPIES”.Coventry: s.p. (artists and Art + Language), n.d. (probably 1966/7) 30 x 21cm, 4pp (including wrappers), stapled but with original slide binder. Xerox pages. First and only edition of this “tale of moral rectitude to fortify young artists against the baroque indulgences propagated by the entrenched usage of artistic license”. One of “only a few” copies circulated privately within Art + Language. An early text. Three illustrations of chemical states (gas, liquid solid). Unusual for an internal A+L publication to be bound. Staples a little rusty and minor marks to covers, else VG.
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UNTITLED (HOT WARM COOL COLD aka "KEY”). ONE OF 200 COPIES DEDICATED COPY TO SARA AND CHARLES HARRISON. 1967.UNTITLED (HOT WARM COOL COLD aka "KEY”). ONE OF 200 COPIES DEDICATED COPY TO SARA AND CHARLES HARRISON. 1967.n.p. (Coventry): n.p. (Precinct Publications), n.d. (c. 1968) 25 x 20.8cm, 48pp printed recto only plus wrappers. Comb bound with plasticised covers. First edition of this artists' book. A detailed consideration of the four conceptually related words: "HOT", "WARM", "COOL", "COLD" and the effects of disjunction (reordering) on the page. Near fine copy. This copy is dedicated by Terry Atkinson to Sara and Charles Harrison and is number 3/200 and signed. Rare association copy.
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NOTES ON TIME SHOW 1966 - 1967.n.p. (Zurich): n.p. (Editions Bischofberger), n.d. (c. 1967) 30 x 21cm, 8pp printed recto only plus wrappers. Stapled. First edition of this artists' book. Wrappers minorly grubby, some centre surface scuffs and former library stamp on outer cover - but internally and elsewhere very good. Officially decommissioned from the library. Very scarce.
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SUNNYBANK. 1968. UNPUBLISHED MANUSCRIPT.n.p. (Coventry): s.p.Atkinson and Baldwin), 1968 Vintage A4 folder content of 39 original typescript sheets. The only copy prepared for publication of this text on philosophical matters based on conversations between Atkinson and Baldwin. According to Dave Rushton these are some of the earliest of the Art and Language conversations and was the basis for the Art Philosophy courses that Atkinson and Badwin created at Coventry. Sunnybank was the house where the two met to make these recordings. Rushton believed that this was meant to be a printed book but for some reason was not produced. Unique and an important document which was always referred to but never seen in Art and Language internal debates. 2,950 uk pounds
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INTRODUCTION TO DISCOURSE. 1969.Zurich: Editions Bischofberger, 1969 30 x 21cm, 28pp printed recto only plus wrappers. Stapled. First edition of this artists' book thus: the contents of this Art & Language publication is exactly the same as the earlier 1967 publication entitled "NOTE TYPOGRAPHY FOR TEXT BOOK" namely: a detailed investigation into philosophical logic when applied to the concepts "The art of Terry Atkinson" and "The art of David Bainbridge" (both members of Art and Language) . We believe this NOT to be a second edition but rather a different artist's book to "Note Typography...&" but restating the same text under a different context ie the title. Very good. Rare.
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A GROUP OF VINTAGE MATERIAL RELATING TO LANCHESTER POLYTECHNIC’S RESPONSE TO THE STATEMENTS CONCEPTUAL ART GROUP. 1969.A GROUP OF VINTAGE MATERIAL RELATING TO LANCHESTER POLYTECHNIC’S RESPONSE TO THE STATEMENTS CONCEPTUAL ART GROUP. 1969.In 1970 the three students who made up the Statements Group (later Analytical Art and eventually merged into the Art & Language Group) were in dispute with their college because they wished to submit their final degree work as a collaborative effort and wanted the college not judge the trio’s work as three separate entries. This was initially rejected but eventually the College accepted the students’ wishes and awarded them jointly 2.1 degrees accepting the work as joint. This was a major challenge to the way that art courses might be assessed (perhaps for the first time anywhere in the UK) and, for the three students - Philip Pilkington, Kevin Lole and David Rushton - the victory and an acceptance of a different art training was an conceptual art work in itself. Here we offer some of the correspondence between the Statements Group and the College from David Rushton’s archive. Five separate documents. Namely: Statements Group ORIGINAL VINTAGE XEROX COPY OF THE STATEMENTS RESPONSE TO THE DAD FINE ART POLICY STATEMENT AS GIVEN TO FINE ART DEPARTMENT, LANCHESTER POLYTECHNIC, APRIL 1969 30 x 21cm, 8pp (recto only) xerox. The text outlines the Statement’s Group argument in favour of accepting conceptual art as part of the course leading to the DIP. AD. FINE ART degree. A remarkably mature and precedent document which clearly makes the case that “there should not be a dichotomy between “studio work” and “intellectual bite” (Bevaner’s phrase). We see the two as inseparable. Unless the outcome of artistic activity (which may not invariably result in the production of a visible “object”) depends on intelligent and informed decision-making, the activity frequently de-grades to a mindless activity which is antithetical or any worthwhile concept of art.” Not a great xerox copy of the original text submitted to the college but a vintage copy and a key document relating to the conceptual art motivation of the Statements Group. JOINT: Statements Group ORIGINAL TYPED LETTER TO THE DEPARTMENT OF FINE ART LANCHESTER POLYTECHNIC DATED 19 MARCH 1970 30 x 21cm, 1pp original typed letter on “Statements” headed notepaper. The text reads: “Dear sir, The publication of “Statements” is a student project./Editorial responsibility rests entirely with the student group involved./This magazine is being distributed with a view to producing feedback; therefore, any co-operation in the form of comment or criticism on individual articles or the magazine as a whole will be greatly appreciated. It is hoped that subsequent issues might related to points arising from any correspondence./Yours faithfully Kevin Lole, Philip Pilkington, David Rushson.” This letter was submitted by the group to the Faculty as the opening salvo in the campaign for the College to recognise the Statements magazine as part of the three students' course work. Fine condition. JOINT: ORIGINAL TYPED LETTER FROM DEPARTMENT OF FINE ART LANCHESTER POLYTECHNIC OUTLINING THEIR POSITION ON THE CONTENT OF DIP. AD. FINE ART COURSE (NO DATE BUT 1971) 30 x 21cm, 1pp original typed letter on plain paper outlining the College’s lack of formal clarification of the format of the courses that the Statements Group were following. The letter notes the lack of clarity from NCDAD (the verifying education body) about the role of theoretical work in the course and “clarifies” that “(they) think it would be unreasonable for students to spend more than the equivalent of four terms of their Chief Study on theoretical work; if appropriate, this might be distributed throughout the three years of the course.”. This letter was essentially opposing the idea that the students might create works that were conceptual in content for more than 4 terms in a three year course. Fine but folded for delivery. JOINT: Original hand addressed envelope to D Rushton/P Pilkington 3rd Year Fine Art. XEROX COPY OF THE NATIONAL COUNCIL FOR DIPLOMAS IN ART AND DESIGN JUDGEMENT ON THE PROGRAMME OF STUDY IN THE FINAL ART DEPARTMENT, LANCHESTER POLYTECHNIC 29 JULY 1971 Coventry: Lanchester Polytechnic, 1971 3 0 x 21cm, 1pp. Vintage xerox with hand underlinings. The letter given in reply to the Statements Group which outlines the verifying body NCDAD’s position on the balance between “studio work” - by which the body meant object making or painting - and the more conceptual activities of the Statement Group. The letter notes (and is underlined by an unknown hand) that “the Visiting Board,… , (were concerned about) the lack of balance in the proposed modifications to the programme of study in the Fine Art area, and a note of caution was added with a view to avoiding what could be a distortion of emphasis in the programme.” And also: “There is no doubt whatever that the Board and Council used the term “studio work” in its commonly accepted meaning, that is to say the production of tangible art objects…. (and the college should see) Painting and Sculpture as Chief Studies.” The whole is signed EE Pullee Chief Officer of NCDAD. Slight marks and dog-ears. This letter was essentially an official refusal to accept the Statements Groups argument in favour of a much greater amount of conceptual discussion as part of the Fine Art course. This letter was given to David Rushton as part of the College’s response to the three students' request to be judged on their collective conceptual artwork. ORIGINAL MIMEOGRAPHED LETTER RELATING TO THE USE OF FILM IN THE FINE ART DEPARTMENT LANCHESTER POLYTECHNIC (NO DATE - C. DECEMBER 1971) 30 x 21cm, 1pp. Mimeograph. An official letter from the College authorities on one hand refusing the student’s request for a continuation of “film making” within the Department of Fine Art but offering some future compromises. The letter says that the current level of film-making is “both impracticable and wasteful of time and money”, that it could only be successful if a “special course and ….. department were instituted”, but agreeing to “a special section for film-making could be set up within the department and small cine clips could be made as an extension of the student’s work” and a proposal to employ in the future a staff member to carry out such teaching. This was a minor victory by the Statements Group and others as part of their campaign to widen the scope of the Fine Art Degree away from simply painting and sculpture. Five documents (which are sadly not comprehensive of the entire debate) which shine a light on the struggle of the three participants in Statements to create a space for conceptual art as part of the curriculum of their Art College. An interesting set of documents. PRICE IS FOR THE GROUP AS A WHOLE
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ART & LANGUAGE PH. PILKINGTON D. RUSHTON. 1970.Koln: Paul Maenz Gallery, N.D. (1970) 10.5 x 15cm, 2pp b/w typographic announcement card for an A+L exhibition where the two artists Pilkington and Rushton were showcased. The two had recently joined Art & Language as students after their Analytical Art group merged into the larger conceptual art grouping. VG+. Scarce.
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IDEA STRUCTURES (1970) RARE CONCEPTUAL ART CATALOGUE. 1970.London: Camden Arts Centre, 1970 30 x 21cm, 64pp plus card covers. Exhibition catalogue of the important English conceptual show (although some of the artists were American) - which documents various areas of conceptual art including a 5pp artist's text text outlining Kosuth's important work The 6th Investigation (Proposition 2) which was shown during the exhibition. Other works include a joint text by the members of Art & Language (under their individual names) and Arnott and Burgin. The duration of the exhibition was decided by Keith Arnott's installation - a count-down clock set at 2,188,000 which ended the event at 000. Slight spine damage at the top but otherwise very good. Scarce - one of 500 published.
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NUMBER ONE - Nrs A, C and D / PAPERS READ AT LEEDS COLLEGE OF ART 2.2.72. 1970.Berry, Peter, Paul Wood, Kevin Wright NUMBER ONE - Nrs A, C and D (ABCD = all published) Coventry: s.p. (the authors), December 1970, March 1971 and June 1971 respectively. Uniformly, 25 x 22.5cm, 40pp. 68pp and 32pp respectively. B/w offset from typed pages on cartridge paper. Stapled. Three of the four philosophical journals produced by Very, Wood and Wright who all joined the Art and Language collective after these publications were circulated. Similar topics to Analytical Art - ontology, aesthetics, etc etc are covered. These are very homemade in appearance - the pages are all printed recto only, the staples are now all rusted and there are brown marks on the covers and some of the inner pages due to the poor quality paper used. Issue C has hand-written notes on 4 of the inner pages and three other unknown names on the read wrappers. All very scarce. ADDED Berry, Peter, John Richards, Paul Wood, Kevin Wright PAPERS READ AT LEEDS COLLEGE OF ART 2.2.72 Coventry: s.p. (the authors),1972 25 x 22.5cm, 40pp. B/w offset from typed pages on cartridge paper. Stapled. Very similar format to the journal NUMBER ONE and can be seen as a hors series additional number. The cover is annotated with the initials of each author next to the paper they presented. Price is for all 4 items as a group. We have some duplicate single issues - please enquire.
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CONCEPTUAL ART AND CONCEPTUAL ASPECTS. 1970NYC: The New York Cultural Center, 1970. 28 x 21cm, 100pp plus original printed white covers. Exhibition catalogue for an important early show of concept art which only had texts as artworks. TCurated by Donald Karshan. exts by Joseph Kosuth (Art after philosophy), Frederick Barthelme, On Kawara, Christine Kozlov, Terry Atkinson, Michael Baldwin, David Bainbridge, Harold Hurrell, Ian Burn, Roger Cutforth, Mel Ramsden (The Society for theoretical art and analyses). Very minor marks to wrappers else VG++.
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HANDBOOK TO 'INGOT'. 1970.NYC: New York Cultural Center/Art & Language Press, 197028 x 22cm, 44pp printed recto only plus wrappers. Stapled. Original plastic transparent wrapper held in place by original scotch tape. First edition of this artists' book. More considerations on propositions. The front cover has a small brown stain on it on the left else a VG copy of this scarce and important book of conceptual art.
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INTENSION II: DRAFT FOR A TEXT BOOK SECTION. 1970.Zurich: Editions Bischofberger, n.d. (c. 1970) 30 x 21cm, 20pp printed recto only plus wrappers. Stapled. First edition of this artists' book. A consideration of Kosuth's thoughts on proposition as mediated through discussion between Atkinson and Baldwin. White covers slightly grubby but otherwise very good. Rare.
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STATEMENTS NUMBER 1 JANUARY 1970. ONE OF ONLY C. 100 COPIES,Analytical Art (2 = ALL) Coventry: Analytical Art, November 1970 21 x 15cm, 44pp. Card covers. The first of only two editions of this artist book (both differed) of Coventry student work from the course originally established by Art & Language at Coventry in 1969. Edited by David Rushton and Philip Pilkington. Comprising short texts describing and discussing different art projects carried out by Analytical Art before joining A&L. The short foreword notes the intent of the group to publish this journal twice a year although only two issues came out. The works described include Rushton's 'Event', Milson and Pilkingston's 'Notion of a thing persisting...' Pilkington and Lole's 'Is the statement that "Noland is thirty feet by six feet" an statement about an art object?', Willsmore's 'Identity Mistakes' and Susan Beeby's 'Can I reproduce my feelings in respect of Jim DInes (sic) toaster in John Mitchell' and finally Dave Rushton's "Exhibited painting". Only "about a hundred" of these books were printed, very few were sold and they are quite rare. This copy is in VG condition although there is one brown mark below the front cover title.
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CONCERNING THE PARADIGM OF ART. AN ANALYTICAL ART MONOGRAPH. 1970. ONE OF ONLY 5 SIGNED AND NUMBERED COPIES .CONCERNING THE PARADIGM OF ART. AN ANALYTICAL ART MONOGRAPH. 1970. ONE OF ONLY 5 SIGNED AND NUMBERED COPIES .Zurich: Edition Bischofberger/Analytic Art Monograph, 1970 -72 30 x 21cm, 16pp (recto only). White card covers - with offset title. A text published by Bischofberger from a theoretical document written by Kevin Lole, Philip Pilkington, David Rushton and Peter Smith (formerly Analytical Art and by this time fully regarded as members of Art & Language) which applied Thomas Kuhn's theory of paradigm shift to art (the original theory by Kuhn being a view that revolutions in scientific thought only occurred when sufficient contrary evidence to the prevailing orthodoxy had mounted up and the original hypothesis could no longer explain the physical evidence emerging from empirical studies). It is worth noting that at this time Bischofberger bought a great deal of Art + Language material from the group and published other documents by them including some of the group's rarest publications - storing many of the more three-dimensional works for later resale. Bischofberger did not print the books himself - rather Art and Language arranged design and publication in Coventry (for free using the University's resources) and David Rushton drove the books over in a camper van to Switzerland (breaking down just on the edge of the city due to running out of petrol and having little money left, Rushton coasted the last mile down hill on an empty tank). The limitations of these series of books are usually placed at c. 200 but Rushton remembers taking far fewer than that with him and this Analytical Art book was in fact only produced in 50 copies taken to Zurich plus a few retained by the artists in the UK. That said this is one of ONLY 5 copies which were numbered in roman numerals (this one being III/V) and signed by ALL of the four writers in pencil on the first title page. Some aspects of the text from this book were reprinted and utilised in the famous Index Works created in late 1972 for Documenta 5 and the Haywood Exhibition. Fine.
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NOTES FOR THE INTERPRETATION OF TWO MODELS - PROOF COPY WITH VINTAGE HANDWRITTEN ANNOTATIONS BY DAVE RUSHTON. 1970.NOTES FOR THE INTERPRETATION OF TWO MODELS - PROOF COPY WITH VINTAGE HANDWRITTEN ANNOTATIONS BY DAVE RUSHTON. 1970.Coventry: Analytical Art, 1970 30 x 21cm, 20pp (10pp printed recto only on glossy white paper) plus white card covers. Stapled. This example is the earliest publication of the student group Analytical Art (written by Dave Rushton and Philip Pilkington) and predates the journal Analytical Art which was published two years later. This document considers the works Exhibited Painting and Noisy Channel and has eight b/w full sheet reproductions of the two works. The first two pages are a text by Rushton and here in this proof copy there are several ink changes (corrections) to the text (mostly typos) by Rushton in blue ink written at the time. This was one of only three proof copies created by the group in advance of a hardly larger print run of ONLY a 'few' copies. Fine and unique thus.
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STATEMENTS NUMBER 2. NOVEMBER 1970.Coventry: Analytical Art, November 1970 21 x 15cm, 44pp. Card covers. Second of only two editions of this artist book (both differed) of Coventry student work from the course originally established by Art & Language at Coventry in 1969. Edited by David Rushton and Philip Pilkington. The first edition of Statements was published in January 1970. Comprising short texts describing and discussing different art projects carried out by Analytical Art before joining A&L. The works include sections of two works since lost or destroyed - Noisy Channel Chair 1 (1969) where a found chair was photographed and then coated in photographic emulsion and the original photograph projected back onto the chair and developed - thus creating a merger of signifier and signified - and Noisy Channel Canvasses (also now destroyed) where a similar process was undertaken using unpainted canvasses. There are 8 b/w images of these works. Only "a couple of hundred" of these books were printed, very few were sold and they are quite rare. This copy is in VG condition.
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ART-LANGUAGE. 1970 - 1978. A CONTINUOUS RUN OF 9 NUMBERSArt + Language ART-LANGUAGE Vol. 1 Nr 1 Chipping Norton: Art & Language, February 1970 21.5 x 13.5cm, 32pp. Original card covers. First edition of this inaugural number of the important conceptual art journal with articles by Sol LeWitt, Dan Graham, Lawrence Weiner, David Bainbridge and Michael Baldwin. LeWitt's Sentences on conceptual art. Graham's Poem-Schema and Weiner's Statements had all been previously published elsewhere but being in a single journal allowed their views to be compared - LeWitt's 10th sentence is "Ideas alone can be works of art: they are in a chian of development that may eventually find other form. All ideas may not be made physical." - compare that with Weiner's more famous and more readily quoted dictum regarding the requirement that "1. an artist may construct a work 2. a work may be fabricated 3. a work need not be built. A reasonable assumption is that each being equal and consistant with the intent of an artist the decision as to condition rests within the needs of the receiver upon the occasion of receivership." A VG + to near fine copy. JOINT WITH Art + Language ART-LANGUAGE Vol. 1 Nr 2 Chipping Norton: Art & Language, February 1970 21.5 x 13.5cm, 88pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Joseph Kosuth, David Bainbridge, Frederic Barthelme, Stephen McKenna, Michael Baldwin, Ian Burn, Terry Atkinson, Harold Hurrell, Michael Thompson and Mel Ramsden. A VG + to near fine copy. JOINT WITH Art + Language ART-LANGUAGE Vol. 1 Nr 3 Chipping Norton: Art & Language, June 1970 21.5 x 13.5cm, 36pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Ramsden, Bihari, Graham Howard, Ian Burn and Roger Cutford. A VG + to near fine copy. JOINT WITH Art & Language ART-LANGUAGE Vol. 1 Nr 4 Chipping Norton: Art & Language, November 1971 21.5 x 13.5cm, 72pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Terry Atkinson, Stuart Knight, Michael Baldwin and Graham Howard. A VG + to near fine copy. JOINT WITH Art & Language ART-LANGUAGE Vol. 2 Nr 1 Chipping Norton: Art & Language, February 1972 21.5 x 13.5cm, 58pp. Original card covers. A single number from the conceptual art journal with articles by Michael Baldwin, Ian Burn, Terry Atkinson, David Rushton, Kevin Lole, Philip Pilkington and Graham Howard. A VG + to near fine copy. JOINT WITH Art & Language ART-LANGUAGE Vol. 2 Nr 2 Chipping Norton: Art & Language, November 1971 21.5 x 13.5cm, 36pp. Original card covers. First edition of this single number from the conceptual art journal with articles by Ian Burn, Mel Ramadan, Terry Atkinson, Michael Baldwin, Harold Hurrell, David Bainbridge and Victor Burgin. A VG + to near fine copy. JOINT WITH Art & Language ART-LANGUAGE Vol. 2 Nr 3 (Mis-numbered by editors as Vol 2 Nr 2) Lemington Spa: Art & Language, September 1973 21.5 x 13.5cm, 78pp. Original card covers. A single number from the conceptual art journal with articles by Michael Baldwin, Ian Burn, David Rushton, Philip Pilkington, Michael Corris, Mel Ramsden, David Bainbridge, John F. Hemmings and Graham Howard. A VG + to near fine copy. The designers mis-numbered this particular issue and the cover has the correct number tipped on as issued. JOINT WITH Art & Language HANDBOOK(S) TO GOING ON. ART-LANGUAGE Vol. 2 Nr 4 Chipping Norton: Art & Language, June 1974 30 x 21cm, 130pp. Original card covers. First edition of this single number from the conceptual art journal with for the first time anonymous articles. A VG + to near fine copy. Very scarce. JOINT WITH (Burn, Ian, Mel Ramsden and Terry Smith) Art + Language DRAFT FOR AN ANTI-TEXTBOOK ART-LANGUAGE Volume 3 Number 1 Leamington Spa: Art-Language Press, September 1974: 30 x 21cm, 110pp plus card wrappers. Single number of this conceptual art journal with contributions solely by Burn, Ramsden and Smith. Very minot marks to white wrappers else VG+. PRICE IS FOR ALL - WE MAY CONSIDER BREAKING UP THIS COLLECTION - PLEASE ENQUIRE
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TERRY ATKINSON DAVID BAINBRIDGE MICHAEL BALDWIN HAROLD HURREL ART & LANGUAGE PRESS. 1971Art & Language Torino: Galleria Sperone, 1971 15 x 21cm, b/w 1pp typographic announcement card for an exhibition at the famous Italian conceptual art gallery. One faint print ink mark on the front of the card but else VG+. Scarce. 95 uk pounds
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BIBLIOTHERAPY. ONE OF ONLY FOUR COPIES MADE. 1971. BIBLIOGRAPHY AS ARTIST'S BOOK.Coventry: s.p. (Analytical Art), n.d. (c. 1971) 30 x 21cm, 16pp (recto only). Original xerox bound by vintage blue plastic slide. An interesting early artist's book by two of the founders of Analytical Art where a self-composed bibliography of articles and books on philosophy and art have been placed together as a "therapeutic” device. This was one of only four such “books” made by the duo (the top right of the front sheet has “4 copies” written on it). Some mild discolouration of the xerox pages after nearly 40 years and some edge wear but else VG. Clearly rare, possibly the only copy still extant.
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NOTES ON MAPPING AND INDEXING. 1971. SIGNED, STAMPED BY ART + LANGUAGE, DATED AND DENOTED "SECOND COPY" - ONE OF ONLY THREE COPIES MADENOTES ON MAPPING AND INDEXING. 1971. SIGNED, STAMPED BY ART + LANGUAGE, DATED AND DENOTED "SECOND COPY" - ONE OF ONLY THREE COPIES MADECoventry: Art & Language, 1971 30 x 21cm, 30pp (recto only). Original covers and white slide binding. Xerox inner pages as issued. First and only edition of this artist's book written mostly by Pilkington and Rushton again for a Paul Maenz exhibition in Germany which also travelled to London later. The work is a discussion on the role of indexing as an art practice and also discusses the logical differences between indexing and mapping. This book was one of ONLY three copies made and is signed in black pen and dated "1971" over the official "Art + Language" stamp (which notes within its impression as members of the group: Atkinson, Bainbridge, Baldwin, Burn, Harrison, Hurrell, Kosuth, Pilkington, Ramsden and Rushton). Additionally there is a blue pen note denoting this book as "second copy". The inside title page has a tipped on small title label (xerox) which has some staining from the glue and there are some minor browning to the 40 year old glossy card wrappers in places but else VG+/ Clearly a major rarity and a virtually unknown official Art & Language publication.
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PROMOTIONAL LEAFLET FOR ANALYTICAL ART (NR 1). 1971.Coventry: Analytical Art, 1971 21 x 15cm, 1pp. Typographic announcement/subscription leaflet for the forthcoming journal which lists the contents for that first number of the short lived conceptual art journal. Slight creases at the edges of the leaflet else VG. Scarce very early ephemera.
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IAN BURN. MEL RAMSDEN. 1971Paris, Galerie Daniel Templon, October 1971 10.5 x 14.9 cm1pp. Typographic announcement postcard.. On the blank reverse there are some contemporary notes by an unknown hand in blue ink which references the titles of works by Rasmden and Burn as well as the "Xerox Book (no 3)”. VG if one ignores the notes but we would suggest they are of use to art historians.
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UNTITLED TEXT ON PRAGMATIC-SEMANTIC DUALISM. FIRST DRAFT IN XEROX FORM OF AN UNPUBLISHED TEXT. (c. 1971)UNTITLED TEXT ON PRAGMATIC-SEMANTIC DUALISM. FIRST DRAFT IN XEROX FORM OF AN UNPUBLISHED TEXT. (c. 1971)Coventry: s.p. (Baldwin), n.d.(probably 1971 - 1972) 33 x 22cm, 5pp (recto only) consisting of xeroxed pages the originals torn from Baldwin’s notebook and then each line hand-numbered in red by the artist down the page. A text which was prepared for printing but to the best of our knowledge not completed. Paper a bit browned.
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THE NEW ART. 1972.London: Arts Council of Great Britain, 1972 20 x 24cm, 120pp plus covers. Exhibition catalogue of a relatively early (for the UK) conceptual art group show curated by Anne Seymour. Participants included Art-Language, Victor Burgin, Michael Craig-Martin, Gilbert & George, Barry Flanagan, Richard Long, David Tremlett, Hamish Fulton and others. Each artist was given between 4-6 pages of works and a later section which includes either an artist's statement or interview. Slight marking to the black front cover but otherwise very good.
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INDEX COMPUTER PRINT OUT - UNUSED ELEMENT FROM THE INDEX PROJECT. UNIQUE DOCUMENT. 1972Coventry: Art & Language, 1972 Standard computer print out paper - a single continuous concertina sheet of computer paper - each fold 28 x 37cm, printed recto and consisting of c.100 pages in total. This was one of two unused computer print-outs initially produced for the one of the early Index Projects (which were made for exhibitions in 1972 and 1973 but both created "back to back" in 1972 for shows at Documenta 5 in Kassel and The New Art at the Hayward, London. This printout reproduces in codified form of one of the wall charts for one of these two famous installations but was rejected for eventual use because of aesthetic or theoretical considerations ie the leading on the typography was disliked and it is understood the output was re-run probably with a wider spacing. The Index projects were perhaps the most seminal of A&L's public works - the group's theoretical texts (additionally incorporating those from Analytical Art) were reprinted and collated within a series of specially built filing cabinets. Those texts were then annotated and deconstructed via wall charts and other methodology in such a way as to display the text's inter-relations - sometime stressing the consistencies between the texts or the text's influences on each other, other times pointing out logical contradictions between aspects of the text. While this print-out is not a work in any sense it is an interesting and important documentation of the practice of Art & Language and given that the filing cabinet Index works are in public hands and not for sale this is one of few elements from these famous works available for purchase on the open market for the foreseeable future. We held the other example of computer print out (two were made but this was the first according to David Rushton) but it was sold elsewhere. This is the ONLY opportunity to obtain an important relic and documentation from the immediate pre-Documenta 5 activities of Art + Language.
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INDEX. 1972. MAILED EXAMPLE.Milan: Daniel Templon, 1972 10.5 x 15cm, 1pp Typographic announcement card for one of the influential Index works where the philosophical publications of the group were displayed in Index Cabinets. This was a solution (found by David Rushton and Philip Pilkington) for the need to have a visual/installation aspect to their work as Joseph Kosuth had booked a large room at Documents for the group to exhibit in and books alone would not cut it. Variations of the Index works were then exhibited in various other museum and gallery spaces - as here in Milan. This card is a mailed example and has some black ink from frankings and a handwritten address verso else VG+.
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GEOLOGY. 1972. SIGNED BY ATKINSON. ONE OF THE RAREST OF A&L BOOKS.Zurich: Editions Bischofberger, 1972 29.7 x 20.9cm, 8pp plus original card covers. Staple bound. This is the rarest of the Art & Language books published by Bischofberger although in truth the editions were printed in Coventry (without permission) by the university printing section and driven to Zurich by David Rushton in his Morris Minor van. The numbers of each printing are not known but it seems that they varied (Paradigms of Art was published in fewer than 5 copies for example) and there seems to have been relatively few of this book produced despite a claim that there were 200 issued. This example is in very good condition and is signed in ink by Terry Atkinson.
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TOPOLOGICAL NOTEBOOK PART ONE. 1972. ONE OF ONLY FOUR (4) COPIES MADECoventry: Art & Language, 1972 30 x 21cm, 28pp carbon copy pages and printed cover. This was one of ONLY four copies made and published by the group - two copies being signed by David Rushton and Peter Pilkington and created from original typed sheets and two copies remaining unsigned and created (as here) using the carbon copies from the originals. These latter two examples were regarded by the group as artist's proofs of the book. This is the only copy of this book available for sale anywhere as from the original four prices: one is in Paul Maenz's archive and another two copies are in the hands of private collectors (who purchased them from ourselves). This copy is signed by David Rushton and Philip Pilkington and has been stamped on the inside front cover with the official Art & Language Stamp and also designated in blue ink "Second Copy". Fine estate and clearly rare.
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THE RELATIVISM OF EMOTION HANDBOOK TO THE MODEL. 1972.Coventry: s.p. (the authors and Art + Language), n.d. (1972) 30 x 21cm, 50pp (printed recto only) plus printed card covers. Xerox inner pages as issued. The first and only edition of this theoretical work based on a physical model (electro-shock, photo beams and electronic buzzers) acting as metaphor for analogue, theoretical and representative models. Front cover has a faint brown scuff and back cover has a faint diagonal crease else and the inner xeroxed pages are somewhat VG++. From the archive of David Rushton who believes only 10 or fewer of this book was published. Note on condition: this book has been minorly repaired - there is a new ( i.e. 2016) xeroxed cover copied from an example of the original cover and new plastic ring binder has replaced the original as the original binder had several of the plastic rings missing. We have retained the original plastic binding and can supply this as part of any purchase if desired. ALL ELSE in this copy is vintage. Priced thus.
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INDEX. 1972.Milan: Daniel Templon, 1972 10.5 x 15cm, 1pp Typographic announcement card for one of the influential Index works where the philosophical publications of the group were displayed in Index Cabinets. This was a solution (found by David Rushton and Philip Pilkington) for the need to have a visual/installation aspect to their work as Joseph Kosuth had booked a large room at Documents for the group to exhibit in and books alone would not cut it. Variations of the Index works were then exhibited in various other museum and gallery spaces - as here in Milan. This card has some handwritten text on the front in blue ink and has been hand addressed and posted with franking on the reverse.
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PROMOTIONAL LEAFLET FOR ANALYTICAL ART (NR 2). 1972.Coventry: Analytical Art, 1972 30 x 21cm, 1pp. Typographic announcement/subscription leaflet for the forthcoming second number of this conceptual art journal which lists the contents as texts by Atkinson, Burn, Ramsden, Baldwin, Lole, Pilkington, Rushton, Smith, Willsmore, Johnson and Tate. Slight creases at the edges of the leaflet and former rust stains from some staples that have been laid up the sheet but else VG. Scarce very early ephemera.
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CHART 1972. + ZUSATZ ZUR PROJEKT 74 AUSGABE..... OPEN LETTER TO JOSEPH KOSUTH.Koln: Kunstverein Koln, 1974 Two sheets, uniformly 31 x 21 cm which are original photostats of computer print-outs from one of the Group's INDEX projects. These were issued during the "Kunst - ueber Kunst + Projekt 74" exhibition. Both sheets browned with age and minor edge damage. JOINT WITH: Art + Language ZUSATZ ZUR PROJEKT 74 AUSGABE..... OPEN LETTER TO JOSEPH KOSUTH 31 x 21cm, 1pp. An attack on Kosuth by A&L following what was perceived as his careerism. Text in German. Price is for all three documents together.
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BLURTING IN A&L. 1973.NYC: Art & Language Press, New York, USA & The Mezzanine, Nova Scotia, Canada, 1973 21 x 15cm, unpaginated, card covers. Artist’s book published with contributions from Ian Burn, Michael Corris, Preston Heller, Joseph Kosuth, Andrew Menard, Mel Ramsden and Terry Smith between January and July 1973. Michael Corris and Mel Ramsden chose terms as headlines for the annotations after which the first letters of the headlines were used for an alphabetical ordering. In this order the annotations were numbered. References to other annotations were notated under each annotation with the intent to provoke a cross-reading or browsing. Typical of the self-referential period of the mid-70s this is a scarce and often overlooked A+L book. Fine.
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TALKING TO MICHAEL BALDWIN: A COMPLETE INDEX. 1973. ONE OF ONLY THREE COPIES.N.p.: S.p. (Harrison), 2000 (1973) 30 x 21cm, 87pp colour xerox pages in original A4 file. A record of conversations between Harrison and Baldwin that took place in 1973. The edition was only published 27 years later and is signed by both Baldwin and Harrison and is numbered 1/3. JOINT A folder of working notes and papers related to the book which are not included in the final work 2,950 uk pounds
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ART & LANGUAGE STATIONERY (BOTHY). 1973.Galasheils: Art & Language, 1973 21 x 15cm, 1pp. B/w letterhead with the text "Art and Language" printed offset and the address of the "Bothy Flat” - an artist’s retreat on the Fairnlee Estate, Galashiels, Scotland where A+L members and those close to the organisation could live for a short period and work in isolation from most everyday concerns. Fine.
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ART LANGUAGE: TERRY ATKINSON, MICHAEL BALDWIN, IAN BURN, CHARLES HARRISON, GRAHAM HOWARD, HAROLD HURRELL, Lynn LEMASTER, DAVID RUSHTON, MEL RAMSDEN, PHILIP PILKINGTON. PROCEEDINGS 1972/3 ON PERMANENT MICROFILM INSTALLATION. 1973.ART LANGUAGE: TERRY ATKINSON, MICHAEL BALDWIN, IAN BURN, CHARLES HARRISON, GRAHAM HOWARD, HAROLD HURRELL, Lynn LEMASTER, DAVID RUSHTON, MEL RAMSDEN, PHILIP PILKINGTON. PROCEEDINGS 1972/3 ON PERMANENT MICROFILM INSTALLATION. 1973.Art + Language. ART LANGUAGE: TERRY ATKINSON, MICHAEL BALDWIN, IAN BURN, CHARLES HARRISON, GRAHAM HOWARD, HAROLD HURRELL, Lynn LEMASTER, DAVID RUSHTON, MEL RAMSDEN, PHILIP PILKINGTON. PROCEEDINGS 1972/3 ON PERNAMENT MICROFILM INSTALLATION London: Lisson Gallery, n.d. (1973) 10.5 x 15 cm, 1pp. Typographic announcement postcard printed red on white. One of the last Art & Language initiatives as a group was the creation of an index of all of their works on microfilm. This work has since been "lost" according to the gallery. Some heavy marking to the card and one paper scuff slightly affecting text but a very scarce A+L card relating to a forgotten work. (We would be grateful for any information on this work - do contact us should you know more about it).
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ART LANGUAGE TERRY ATKINSON MICHAEL BALDWIN PHILIP PILKINGTON DAVID RUSHTON IAN BURNS MEL RAMSDEN. 1973.ART LANGUAGE TERRY ATKINSON MICHAEL BALDWIN PHILIP PILKINGTON DAVID RUSHTON IAN BURNS MEL RAMSDEN. 1973.London: Lisson Gallery, 1973 10.5 x 15cm, 1pp postcard (typographic with the artist’s names on recto) for this the last of the group’s collective exhibitions before the split of late 1973 when the internal contradictions of the the active members meant that only Ramsden and Baldwin would be active members under the title of A+L. Scarce. Fine condition.
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FIRST TRANSCRIPT SEPTEMBER 1973; SECOND TRANSCRIPT SEPTEMBER 28TH, THIRD TRANSCRIPT, SEPTEMBER 28TH 1973. WITH HAND WRITTEN ANNOTATIONS.FIRST TRANSCRIPT SEPTEMBER 1973; SECOND TRANSCRIPT SEPTEMBER 28TH, THIRD TRANSCRIPT, SEPTEMBER 28TH 1973. WITH HAND WRITTEN ANNOTATIONS.Coventry: s.p. (Art + Language), 1973 10 sheets of 30 x 21cm as issued offset and 5 sheets 32 x 21cm all printed recto. Stapled top left. Relatively unknown Art + Language publication distributed at the ICA show of that year as well as internally amongst the group (with some variation). Very small limitation - the text is by Ian Burn, Michael Corris Preston Heller, Mel Ramsden and Terry Smith and concerns the considerations required in the tasks relating to indexing which reflects A+L's interest in the concept of categorisation which ultimately led to the Lisson Gallery Index Show.Some edge damage to the larger pages at the extremities due to the strangely longer pages employed for the last 4 pages but otherwise very good apart from some browning. This copy has some green felt-tipped ink annotations to the copy by an unknown hand which is almost certainly one of the members of the A+L co-operative. Minor rusting to original staples. Very rare with only a small limitation. We hold two variants of this publication: one without the second or third transcripts and another without the cover - these seem to have been for internal circulation only although all versions still look somewhat home-made because of the different sizes of the paper. Please enquire if these other two variants are of interest.
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INNOVATION AS A FUNCTION OF THEORY. 1973.N.p. (USA), s.p. (Menard), 1973 30 x 21cm, 18pp (recto only) xerox from typed original. Discussion document circulated to members of A+L by The Fox contributor and peripheral member of Art + Language. The text contains general thoughts on art and art criticism. This copy has hand annotations and pasted on corrections to the text probably by Menard. Some minor marks to first page and all pages have been ring punched for storage else VG. Scarce.
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DES WARREN IS A POLITICAL PRISONER. c. 1973.N.P. (Galasheils?): School/Art & Language, n.d. (c. 1973) 42 x 30cm, 1pp. Wall poster printed black on white with a lengthy text arguing that art is socially controlled and giving support to Des Warren as a "political prisoner'. Warren was jailed under the Conservative Government as part of the Shrewsbury Two (the other being the actor Ricky Tomlinson). The charges were of affray and the evidence against the two seemed flimsy and just an excuse to jail a long-time antagonist of the ruling class. This poster was issued as part of the "School" project initiated by David Rushton, Philip Pilkington and Paul Wood (the first two of whom were in the process of leaving the conceptual art group Art & Language and school might be seen as one of the last activities of the group albeit unofficial. The "School" initiative encouraged self-organisation by students (and art students in particular) against formalised methods of teaching in higher and tertiary eduction. "School" also encouraged the publication of local student led publications and propaganda and even organised the design and printing of a number of such works. Folded horizontally for storage else VG. From Charles Harrison's archive. Very scarce.
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THESE THREE TRANSCRIPTS ALL CONCERN RECENT WORK. 1973.Coventry: s.p. (Art + Language), 1973 33 x 20.5cm, 12pp (recto only). Vintage xerox, stapled top left. A textual essay circulated within Art & Language for discussion. The text is a variant (probably an unedited earlier draft because it reproduces hand-written changes which are retained in later versions) of the “First Transcript” believed written by Ian Burn and Mel Ramsden and later circulated publicly at the ICA exhibition of the groups work. An interesting working document. Staple is very slightly rusted and the last page is cleanly detached from the assemblage else VG+. Scarce.
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FIRST TRANSCRIPT SEPT 8, 1973.Coventry: s.p. (Art + Language), 1973 30 x 21cm, 9pp (recto only). Vintage xerox, stapled top left. A textual essay circulated within Art & Language for discussion. The text is a later (probably final) variant of this theoretical text believed written by Ian Burn and Mel Ramsden and later circulated publicly at the ICA exhibition of the group's work. The same transcript was later circulated as part of a further (longer) document which also contained the "Second transcript" and "Third Transcript" so predates that. Original staple is missing top left else VG+. Scarce.
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ART & LANGUAGE. 1974.Luzern: Kunstmuseum Luzern, 1974 30 x 21cm, unpaginated (40pp) plus card covers. Exhibition catalogue with a long text - "Proceedings I - VI" - in both English and a German translation. The Proceedings were based on original conversations between Terry Atkinson, David Bainbridge, Michael Baldwin, Charles Harrison, Graham Howard, Harold Hurrell, Philip Pilkington, and David Rushton. Slight marks to mostly white wrappers else VG+. Scarce.
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THRESHOLD AGREEMENT. 1974. ONE OF ONLY 10 - 20 COPIES PRINTED.Cardiff: Oriel Gallery, 1974 21 x 30cm, unpaginated (36pp) plus card covers. Artist's book issued during the title exhibition (1974) written by Philip Pilkington and David Rushton (of A&L) and Paul Wood (and A&L associate) and Peter Berry (ex Newport College). The title draws upon the trade union/government agreement of the time and the text is a form of agreement or dialogue or perhaps even might be seen as a contract between the four artists to create the exhibition. The book was both meant to stand alone but other copies were left in the space along with two posters and a hand-made wall chart also displaying the negotiations/dialogue between the artists. Exact numbers printed have been lost in time but Rushton says it was between 10 - 20 copies although elsewhere this is disputed. Fine condition.
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THRESHOLD AGREEMENT (POSTERS). 1974.Cardiff: Oriel Gallery/A+L, 1974 Two b/w offset posters both 64 x 5.50cm printed offset litho displaying a reproduction of the Threshold Agreement work and texts relating to it. The Threshold Agreement was written by Philip Pilkington and David Rushton (of A&L) and Paul Wood (an A&L associate) and Peter Berry (ex Newport College) in 1974 and displayed it as a unique work in the Cardiff gallery. The title draws upon the trade union/government agreement of the time and the text is a form of agreement or dialogue or perhaps even might be seen as a contract between the four artists to create the exhibition. The posters were both meant to stand alone as wall works and also as promotional posters for the exhibition but other two copies were displayed alongside the hand-made wall chart (the Threshold Agreement itself) also displaying the negotiations/dialogue between the artists. This is one of the last Art + Language sanctioned works and are unknown in the literature. The original Threshold Agreement work is still in Rushton’s hands but jointly owned by all the participating artists so is not for sale without their permission. Both posters are folded for storage but these are a rare later document from the final days of the collective. VG apart from the fold lines. "Very few" copies made. PRICE IS FOR BOTH POSTERS AS A PAIR.
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MUSEUMJOURNAAL Number 80.5. 1974.Amsterdam: Van Gogh-museum / Stichting kunstpublicaties,, 1974 25 x 17.5cm. Single number of this museum publication which has an interview with Anderson along with nine (including cover) b/w photographs of the musician and her works as well as a 7pp original text translated (into Dutch) Art & Language work relating to Brice Marden and John Berger which is illustrated by a full colour reproduction of a Marden painting. Fine.
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‘THE INTELLECTUAL LIFE OF THE RULING CLASS GETS ITS APOTHEOSIS IN A WORLD OF DORIS DAYS". 1975.N.p. (Coventry): n.p. (Art-Language Press), n.d. (1975) 21 x 21cm, 8pp (self cover). Artist's book with a text by Michael Baldwin discussing the art market. Relatively unknown A&L publication. Minor browning at spine but overall VG+. JOINT (AS ISSUED): UNTITLED N.p. (Coventry): n.p. (Art-Language Press), n.d. (1975) 13 x 13cm, 1pp red and black offset lithograph with a minimalist design (presumably by Baldwin). VG+.
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(NOTES) ON AN “ANTHROPOLOGIZED” ART. STAMPED IN LIEU OF A SIGNATURE.N.p. (NYC): s.p. (Kosuth/Art + Language), n.d. (1973) Five sheets, uniformly 28 x 22cm, xerox, recto only. A consideration of the role of Art + Language as a group and also the role of art in wider society. Stapled top left as issued. This copy is stamped in blue ink top right in lieu of a signature (as was Kosuth’s habit at this time. This is a copy of a text which was sent by Kosuth to other members of the collective for consideration. VG+ although folded into thirds for posting.
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SOME FORMALITIES OF TECHNIC RELATIONSHIPS. UNPUBLISHED ESSAY CIRCULATED WITHIN ART & LANGUAGEN.p.: Art & Language, n.d. (c. 1972) 33 x 21cm, 7pp vintage xerox copy of original typed sheet as issued. Stapled top left. An unpublished essay circulated to the members of the UK A+L group by Howard for consideration for inclusion in Art-Language journal. This is a text on the relationship between “work" and “worker” as a propositional attitude. It was commonplace for articles such as this to be circulated throughout the members of A+L for comment and decisions on publication. Folded for mailing otherwise VG.
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SUPPORT SCHOOL. POSTCARD. 1976.Coventry: Art & Language, 1976 15 x 10.5cm, 1pp. B/w offset postcard for the School magazine project conceived and run by David Rushton where artists and students were encouraged to contribute to a magazine mostly devoted to students who wanted to challenge the typical authoritarian structures of British art schools. This card was designed for University, Art College and school libraries to become part of the project. VG+.
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UNTITLED. 1976. SIGNED, NUMBERED & DATED BY ATKINSON. ONE OF ONLY 8 COPIES.N.p.: n.p. (Atkinson), 1976 48 x 64cm, b/w etching on paper (image size - 24 x 32cm) displaying a drawing by the artist of British troops during the First World War. After leaving Art & Language much of Atkinson's work examined the horrors of war and the class nature of the participants in the conflicts. This work is signed in pencil by Terry Atkinson and numbered 3 out of 8 and dated 1976. The work is in very good condition (with a nice etching plate impression) with minor rippling to the paper along the bottom and faint handling creases.
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UNTITLED. 1976. SIGNED, NUMBERED & DATED BY ATKINSON. ONE OF ONLY 8 COPIES.N.p.: n.p. (Atkinson), 1976 42.5 x 55cm, brown on white etching on paper (image size - 15 x 20cm) displaying a drawing by the artist of a war wounded with facial disfigurements hidden by a mask. After leaving Art & Language much of Atkinson's work examined the horrors of war and the class nature of the participants in the conflicts. This work is signed in pencil by Terry Atkinson and numbered 5 out of 8 and dated 1976. The work is in very good condition (with a nice etching plate impression) only faint handling creases.
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UNTITLED. 1976. SIGNED, NUMBERED & DATED BY ATKINSON. ONE OF ONLY 4 COPIES.N.p.: n.p. (Atkinson), 1976 42.5 x 55cm, brown on white etching on paper (image size - 15 x 20cm) displaying a drawing by the artist of a dead soldier lying on his back. After leaving Art & Language much of Atkinson's work examined the horrors of war and the class nature of the participants in the conflicts. This work is signed in pencil by Terry Atkinson and numbered 5 out of 8 and dated 1976. The work is in very good condition (with a nice etching plate impression) only faint handling creases.
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THE SPELL OF LANGUAGE. 1976.THE SPELL OF LANGUAGE Liverpool: Art-Research, March 1976 30 x 21cm, unpaginated (approx. 240pp - all printed recto only). Printed card covers with plastic transparent sheets and plastic binding. Internally all xerox pages. An unusual assemblage publication where artists have supplied xerox copies for inclusion in this work. Contributions include Art + Language as well as unauthorised reproductions of texts by LeWitt and others. VG.
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ART-LANGUAGE VOLUME 3 NUMBER 3/ MUSIC-LANGUAGE CORRECTED SLOGANS. 1976.Banbury: Art-Language Press, 1976 10.5 x 15cm, 1pp. Typographic postcard announcing the new volume of the journal and the famous LP (with Red Crayola). Also rubber stamped top left in red ink with the announcement that in Oct 1976 Volume 3 Nr 4 was also published. Fine. From Charles Harrison’s own archive. Unmailed example.
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SUPPORT SCHOOL. 1976. THE LAST “OFFICIAL” ART & LANGUAGE PROJECT PRIOR TO THE BREAK UP OF THE GROUP - ONLY 25 POSTERS PRINTEDSUPPORT SCHOOL. 1976. THE LAST “OFFICIAL” ART & LANGUAGE PROJECT PRIOR TO THE BREAK UP OF THE GROUP - ONLY 25 POSTERS PRINTEDCoventry: Art & Language, 1976 40 x 27cm, black on brown paper printed letterpress. Promotional poster for the School magazine project conceived and run by David Rushton where artists and students were encouraged to contribute to a magazine mostly devoted to students who wanted to challenge the typical authoritarian structures of British art schools. This poster has an amusing vitrolic text written by Rushton attacking the art establishment and the college authorities. One of the very last official A&L projects before the group splintered and A&L effectively became only synonymous with Baldwin and Mel Ramsden. One of only 25 such posters issued - of which 15 were mailed to other student bodies and most likely lost. This copy in VG+ condition although with one closed tear bottom right and very minor edge damage else. Ref: Harrison, Charles Essays on Art & Language MIT Press 2001 Pagrs 114/115. Ref: Harrison, Charles Essays on Art & Language MIT Press 2001 Pagrs 114/115.
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MUSIC LANGUAGE CORRECTED SLOGANS. 1976. THE TRUE FIRST EDITIONNYC: Art & Language, 1976 First issue. Standard 33rpm LP record released by the group containing rock songs written and performed by members of A&L (and Mayo Thompson of The Red Crayola on drums) where the more usual banal lyrics of rock and rollers are replaced by chanted statements from Marxist and other leftist thoughts (usually not too seriously!). Record is in very good condition and no obvious marks, in original white sleeve with tipped on green and white labels on both sides. This has slightly browned white covers and the start of some foxing to the tipped on labels but else VG+. This record was later re-issued by the Red Crayola with a different pictorial sleeve. Extremely rare and referenced in Knizak's Broken Music Pg 87.
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ART-LANGUAGE VOLUME 3 NUMBER 3/ MUSIC-LANGUAGE CORRECTED SLOGANS. 1976.Banburty: Art-Language Press, 1976 10.5 x 15cm, 1pp. Typographic postcard announcing the new volume of the journal and the famous LP (with Red Crayola). Also rubber stamped top left in red ink with the announcement that in Oct 1976 Volume 3 Nr 4 was also published. Fine. From Charles Harrison’s own archive. Unmailed example.
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(PROVISIONAL) ART & LANGUAGE. 1976.Paris: Galerie Eric Fabre, 1976. 30 x 21cm, 9pp Xeroxed (as issued) pages with a text in French relating to cultural debates in the Senate and the Chamber of Representatives and the resulting votes. Written by Terry Atkinson, Michael Baldwin, David Bainbridge, Harold Hurrell and Charles Harrison this was the first edition thus of this very scarce document. Very good condition.
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THE FOX. VOLUMES 1 - 3. A COMPLETE RUN OF CONCEPTUAL ART JOURNAL. 1975 - 76.NYC: Art & Language Foundation, New York.1975 - 76. Three volumes each respectively, 27 x 20 cm. ; 26.5 x 21 cm. ; 27.5 x 21.5 cm. All issues printed on newsprint, with rough cardboard covers. Volume One: 144 pp; Volume Two: 163 pp; Volume Three: 188pp. This important journal of conceptual art was published by the first incarnation of Art & Language when the group included later major figures such as Kosuth, Piper (before being reduced to a much smaller grouping around Ramsden and Baldwin. Volume one contains articles by Charlesworth, Baldwin and Philip Pilkington, Kosuth, Menard, Zoran Popovic and Jasna Tijardovic, Ian Burn, Adrian Piper, Ramsden, Corris, David Rushton and Paul Wood, Preston Heller, Lynn Lemaster, Terry Atkinson, Karl Beveridge. Volume two contains articles by Eunice Lipton, Ramsden, Terry Smith, Lizzie Borden, Charlesworth, Mark Klienberg, Piper, Menard, Corris, Burn, Bruce Kurtz interview with Robert Smithson, Stefan Morawski, Jean Toche, Robert Horvitz, Paul Kagawa, Annson Kenney, Rushton and Wood, Kosuth, Smith, Menard and White, Atkinson, Beveridge and Burn on Donald Judd, Trevor Pateman. Volume three contains articles by Peter Benchley, Kathryn Bigelow, Charlesworth, Martha Rosler, Ramsden, Art & Language UK, Carole Conde and Beveridge, Steve Lockard, Kozlov and Mayo Thompson, Sharlene Springler, Burn, Tijardovic, Ross Neher, Nigel Lendon, Kosuth, Fern Tiger and Edward Robbins, Corris, Heller and Menard, David Rushton and Wood, Goran Djordjevic, Herve Fischer, Robert Witz, Joshua Neustein, Guerrilla Art Action Group, J. Byron Kearns, May Stevens, Art & Class. This set is very good ++ to near fine. Increasing rare. Price is for all three volumes together
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AXEHEAD. FROM TEN POSTERS: ILLUSTRATIONS FOR ART-LANGUAGE. 1977. CHARLES HARRISON'S COPY.Coventry: Art & Language, 1977 108 x 83.7cm, black on newsprint paper. A large format poster to promote the later Art-Language journal which shows cover art from the later volumes and numbers of the magazine - Here "AXEHEAD". This is a fragile item and there are some condition issues here - a 11cm closed tear in the middle of the top edge and some minor wear along the sides. The paper is cheap and liable to discolour although this one has mostly escaped that issue. There were 10 different posters originally produced - this is just one of them but all are very scarce and were low edition sizes. This example was purchased as part of Charles Harrison’s archive. Very very scarce.
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ROMAN FACSES. FROM TEN POSTERS: ILLUSTRATIONS FOR ART-LANGUAGE. 1977. CHARLES HARRISON'S COPY.Coventry: Art & Language, 1977 108 x 83.7cm, black on newsprint paper. A large format poster to promote the later Art-Language journal which shows cover art from the later volumes and numbers of the magazine - Here "ROMAN FACSES" where this Roman symbol of power/justice is cut up like a jigsaw and mixed up (A&L produced a set of cards that have this as the theme as well as the cover of the journal). This is a fragile item and there are some condition issues here - a 3cm closed tear in the middle of the top edge and some minor wear along the sides. The paper is cheap and liable to discolour although this one has mostly escaped that issue. There were 10 different posters originally produced - this is just one of them but all are very scarce and were low edition sizes. This example was purchased as part of Charles Harrison’s archive. Very very scarce.
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WORKER AT DRILL. FROM TEN POSTERS: ILLUSTRATIONS FOR ART-LANGUAGE. 1977. CHARLES HARRISON'S COPY.Coventry: Art & Language, 1977 108 x 83.7cm, black on newsprint paper. A large format poster to promote the later Art-Language journal which shows cover art from the later volumes and numbers of the magazine - Here "WORKER AT DRILL" - an appropriated image showing a working man at a drill. Interestingly it is these later cover images from the later issues of the journal (once the group had effectively broken up and only two of the original participants continued to use the name because of its brand value in the artworld) that have made people think Art & Language were a hugely politicised group - something which many of the surviving original members would dispute. This is a fragile item and there is some minor wear along the sides. The paper is cheap and liable to discolour although this one has mostly escaped that issue. There were 10 different posters originally produced - this is just one of them but all are very scarce and were low edition sizes. This example was purchased as part of Charles Harrison’s archive. Very very scarce.
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QUEUE FOR FACTORY. FROM TEN POSTERS: ILLUSTRATIONS FOR ART-LANGUAGE. 1977. CHARLES HARRISON'S COPY.Coventry: Art & Language, 1977 108 x 83.7cm, black on newsprint paper. A large format poster to promote the later Art-Language journal which shows cover art from the later volumes and numbers of the magazine - Here "QUEUE FOR FACTORY." - an appropriated depression era drawing of men waiting to find work in a distant factory. Interestingly it is these later cover images from the later issues of the journal (once the group had effectively broken up and only two of the original participants continued to use the name because of its brand value in the artworld) that have made people think Art & Language were a hugely politicised group - something which many of the surviving original members would dispute. This is a fragile item and there is some minor wear along the sides and a small 3cm closed tear on the left of the top. The paper is cheap and liable to discolour although this one has mostly escaped that issue. There were 10 different posters originally produced - this is just one of them but all are very scarce and were low edition sizes. This example was purchased as part of Charles Harrison’s archive. Very very scarce.
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WORKER WITH CLENCHED FIST. FROM TEN POSTERS: ILLUSTRATIONS FOR ART-LANGUAGE. 1977. CHARLES HARRISON'S COPY.WORKER WITH CLENCHED FIST. FROM TEN POSTERS: ILLUSTRATIONS FOR ART-LANGUAGE. 1977. CHARLES HARRISON'S COPY.Coventry: Art & Language, 1977 108 x 83.7cm, black on newsprint paper. A large format poster to promote the later Art-Language journal which shows cover art from the later volumes and numbers of the magazine - Here "WORKER WITH CLENCHED FIST." - an appropriated drawing of a man protesting with a clenched first. Interestingly it is these later cover images from the later issues of the journal (once the group had effectively broken up and only two of the original participants continued to use the name because of its brand value in the artworld) that have made people think Art & Language were a hugely politicised group - something which many of the surviving original members would dispute. This is a fragile item and there is some minor wear along the sides and a small 3cm closed tear on the left of the top and another tear on the top right side. The paper is cheap and liable to discolour (there is some here along the right hand side) although this one has mostly escaped that issue. There were 10 different posters originally produced - this is just one of them but all are very scarce and were low edition sizes. This example was purchased as part of Charles Harrison’s archive. Very very scarce.
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ART-LANGUAGE VOLUME 4 NUMBER 1. 1977.Banbury: Art-Language Press, 1977 21 x 15cm, 68pp plus original wrappers with an unattributed poem by one of the group ("Go through the gatehouse..."). Single number of this conceptual art journal published by the Art & Language group with unattributed articles which once published are regarded as the position of the group as a whole. Later numbers of the journal (such as this one) are much harder to find. G+.
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10 POSTCARDS 1977. ONE OF ONLY 250 SETS RELEASED.London: Robert Self Publications, 1977 10.5 x 15.5cm printed envelope content of ten, 10 x 15cm, 1pp artist's postcards which contain an image and text by the conceptualists which can only be seen in its entirety if the postcards are placed together in the correct order. Fine in VG+ complete envelope. Scarce multiple - from an edition of only 250 complete sets - sometimes single cards are found but it is not common to find a complete set in the original envelope.
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FLAGS FOR ORGANISATIONS 1978 INDEX 2 (II) 1972. A DISCUSSION WITH MICHAEL BALDWIN & MEL RAMSDEN. 1972.FLAGS FOR ORGANISATIONS 1978 INDEX 2 (II) 1972. A DISCUSSION WITH MICHAEL BALDWIN & MEL RAMSDEN. 1972.London: Lisson Gallery, 1991 10.5 x 15cm, 2pp. Typographic announcement card for one of the Index exhibitions along with a public meeting with two of the members of Art & Language. A mailed example but VG+.
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ART-LANGUAGE VOLUME 4 NUMBER 3 OCTOBER, 1978 : WAYS OF SEEING. 1978.Banbury: Art-Language Press, 1978 21 x 15cm, 124pp plus original wrappers with illustration from Magritte. Single number of this conceptual art journal published by the Art & Language group which considers John Berger's as a "bad book" and critiques it. Later numbers of the journal (such as this one) are much harder to find than the earlier numbers. Former owner's handwritten name on first page else VG+.
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ART-LANGUAGE 1975 - 1978. 1978. FIRST FRENCH TRANSLATION.Paris: Eric Fabre, n.d. (1978) 21 x 14.6cm, 256pp plus card covers. A compilation of some of the most significant articles found in the Art-Language journal published by the Art & Language conceptual art group. This is the first French translation of many of these texts by the group's French dealer. Very slight diagonal crease bottom right over a first few pages else VG+.
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RATCATCHER ISSUE No 3. 1976.=Hull: Hull College of Art Student Union, 1976 18 x 18cm, 56pp plus paper wrappers. Single number of this theoretical journal which is in part political and in part conceptual art. This was one of the inspired publications that the Art + Language “School” project (the last intervention which was approved by the entire group) which tried to challenge existing educational norms especially in art colleges by supporting and encouraging local similar publications. This example was printed on very cheap brown paper and feels very slightly brittle after 40 years but else is VG+.
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MOTORSHOW. 1979.Edinburgh: New 57 Gallery, n.d. (1979) 17 x 12.5cm, 56pp plus pictorial card covers. First edition of this artist’s bookfrom two of the participants in Art + Language with a text about the influence of the motorcar industry on society and political ways to oppose the negative aspects of that influence. Fifteen b/w full sheet illustrations plus cover. Fine.
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MOTORSHOW. 1979. WALLPAPER.Edinburgh: New 57 Gallery, n.d. (1979) Five separate 21 x 30cm, b/w offset sheets. Over 400 such sheets were created based on images from the Midlands car industry and used to wallpaper the gallery room. These are five unused sheets from the installation (one sheet is double sided). Fine.
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THE NOISES WITHIN ECHO FROM A GIN-CRACK, REMOTE AND IDEOLOGICALLY HOLLOW CHAMBER OF THE EDUCATION MACHINE: ART SCHOOL. 1979.THE NOISES WITHIN ECHO FROM A GIN-CRACK, REMOTE AND IDEOLOGICALLY HOLLOW CHAMBER OF THE EDUCATION MACHINE: ART SCHOOL. 1979.Manchester: A School Book/SCARP, 1979 21 x 15cm, 126pp plus card covers. Theoretical text and manifesto written by Rushton after he officially had resigned from Art + Language but drawing 'its inspiration from that of the Art + Language group'. The text begins on the cover and continues throughout the book - and also contains extracts from magazines published in British art schools of the period that Rushton tried to co-ordinate (with varying success) through his School Project. Reproduces various works, documents and photographs thoughout in b/w. Very scarce. Fine.
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ART-LANGUAGE VOLUME 4 NUMBER 4. 1980.Banbury: Art-Language Press, 1980 21 x 15cm, 62pp plus original wrappers with illustration after Klee. Single number of this conceptual art journal with a single philosophical article " Art for Society?". Later numbers of the journal (such as this one) are very much harder to find than later ones. VG+.
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KANGAROO. THE RED CRAYOLA WITH ART & LANGUAGE. 1981.N.p.: n.p., n.d. (1981) 21 x 15cm, 24pp self cover. Booklet with all the lyrics from the collaborative LP between The Red Crayola and Art & Language that was issued with the same name by Rough Trade. Introduction and notes on the tracks are also included as are two photographs - of Baldwin and Ramsden and also of The Red Crayola. Slight crease on back cover else VG+. Very scarce.
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A PROVISIONAL HISTORY OF ART & LANGUAGE. CHARLES HARRISON'S OWN COPY. 1982Paris: Editions E. Fabre, 1982 16 x 15cm, 92pp. Card covers. Monograph and history of the early days of A&L written to stress the historical necessity of the group and to argue that their work was genuinely post-modern. Very interesting reference and much needed exegesis of the group's work. Fine copy. This example originally came from the archive of Charles Harrison.
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INDEX: STUDIO AT 3 WESLEY PLACE PAINTED BY MOUTH. 1982.Middleburg: De Vleeshal, 1982 29 x 21cm, 4pp (opens to reveal a 42 x 29cm, b/w poster internally as designed by Art & Language. Exhibition catalogue. Short text in Dutch. Some scotch tape remnants on corners and one paper loss at the top of the poster (when opened) where it has been torn off the wall - priced thus.
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ART & LANGUAGE. 1983.Birmingham: Ikon Gallery, 1983 21 x 15cm, 64pp plus card covers. Exhibition catalogue for a late show of the concptual art group around ten years after they had broken up and the name retained by two of the participants to label their output. Essay by Charles Harrison and an anonymous text by the group. Forty-three b/w images of works. VG+.
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NOISY CHANNEL. 1987.Edinburgh: Noisy Channel, 1987 25 x 22cm, 48pp plus original card covers. First and only number of this political and art related journal mostly concentrating on the role of electronic media on political culture. articles by Paul Wood, Faye Choudhury, David Rushton and others. Illsutrat4ed throughout in b/w. The title interestingly was taken from an early conceptual artwork by Rushton created in the early 70s. VG.
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FLAGS FOR ORGANISATIONS. 1988. FULL SET OF THIS POSTCARD EDITION.London: A/R, 1988 Four separate 10.5 x 15cm, 2pp artist editioned postcards with the design in green, light blue, yellow and orange. A complete set with accompanying 8pp 15 x 10.5cm, b/w offset booklet as issued content of the “axiomic rules” by which the organisation is expected to live. Staples are a little rusty in the booklet else VG+. Scarce artist’s postcard edition. Price is for all 4 cards and booklet together.
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MAP OF AN AREA OF DIMENSIONS 12" X 12" INDICATING 2,304 1/4 SQUARES. 1991. A FEATURELESS JIGSAW PUZZLE.MAP OF AN AREA OF DIMENSIONS 12" X 12" INDICATING 2,304 1/4 SQUARES. 1991. A FEATURELESS JIGSAW PUZZLE.London: ICA, 1967/1991 32 x 24.5 x 5cm cardboard box with printed label containing a 250 piece jigsaw puzzle. The lack of detail on the jigsaw (although there is a square reference grid) allows A+L to question the role of representation and, in turn, whether representation can really be an isomorphic experience? One of 100 numbered copies (on slightly faded side label - the green xerox as issued was never going to last decades without such loss of the intensity of the green colour). Signed on the side by Mel Ramsden in black ink.
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ART & LANGUAGE HOSTAGE PAINTINGS. THE DARK SERIES. 1991.London: Lisson Gallery, 1991 15 x 15.5cm, 4pp full colour announcement card with one photograph of an installation view reproduced on the front sheet in full colour. Fine. JOINT WITH 15 x 15.5cm, 2pp. “New publications on Art & Language. Text only. Order form JOINT WITH 30 x 21cm, 2pp. Press release with a text on Hostages: The Dark Series. Fine but folded.
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INDEX: INCIDENT IN A MUSEUM VII (DETAIL). 1993.Paris: Jeu de Paume, n.d. , 1993 10.5 x 15cm, 2pp full colour postcard of the title work issued by the museum, which was sent to David Rushton (one of the original members of Art + Language) from friends in Paris. Handwritten note on back and a stamped, franked and mailed copy but VG.
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DEAD TROOPS TALK. 1993.Lucerne: Kunstmuseum, 1993 22x39, 52pp plus card covers. Exhibition catalogue with numerous illustrations of Wall's most famous photographic works. Text in English and German with an introduction by Martin Schwander, Declan McGonagle, and Zdenek Felix. Essay by Terry Atkinson. Some wear along edges of book else VG.
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ART-LANGUAGE. NEW SERIES NUMBER 1. 1994.Banbury: Art & Language, 1994 21 x 15cm, 72pp- plus card covers. Single number of this continuation of the Art-Language journal which had ceased production in 1985. Edited by Harrison there are two essays - "Mistaken Identities" by Paul Wood and "On Conceptual Art and Painting" by Baldwin, Harrison and Ramsden. Surprisingly scarce given it was the last of the series. VG+.
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MAP TO INDICATE ..... 1998. COMPLETE SET OF 5 DIFFERENT PRINTS.Lille: Art?, 1997 Five different offset prints - each 58 x 35cm, two-colour offset prints - each displaying a stylised computer generated world map. The maps represent the following and are in different colours: Map to indicate countries according to development of an everyday critique of false universals Map to indicate countries according to ability to understand reality as hyperrealistic Map to indicate countries according to penetration by work beyond the object Map to indicate countries according to capacity to glimpse the possibility of the absence of presence, and thus the possibly of charge Map to indicate countries according to development of politics of representation. Edition size of c. 50 copies. All are in VG+ condition. Each can be sold as a group or individually - please enquire - but the price here is for all 5 prints as a group.
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MAP OF A THIRTY SIX SQUARE MILE SURFACE AREA OF THE PACIFIC OCEAN WEST OF OAHUY. 1999. ONE OF 100 SIGNED & NUMBERED EXAMPLES.MAP OF A THIRTY SIX SQUARE MILE SURFACE AREA OF THE PACIFIC OCEAN WEST OF OAHUY. 1999. ONE OF 100 SIGNED & NUMBERED EXAMPLES.London: ICA, 1967/1991 32 x 24.5 x 5 cm two part cardboard box with xeroxed label and a second label on the side containing a 250 piece jigsaw puzzle as usual for the A+L jigsaws, the featureless sea makes this a particular challenge for puzzle aficionados. One of 100 numbered copies signed on the side label (slightly faded as a xerox as always found). Also as usual the gum they used for attaching the labels has lost some of its adhesion over time - so the labels are partly peeling.
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MAP NOT TO INDICATE CANADA. 1999. ONE OF 100 SIGNED & NUMBERED EXAMPLES.London: ICA, 1967/1991 32 x 24.5 x 5 cm two part cardboard box with xeroxed label and a second label on the side containing a 250 piece jigsaw puzzle as usual for the A+L jigsaws, the image of the jigsaw is of geographic areas that are not of Canada but define the borders (in part) by their own boundaries. One of 100 numbered copies signed on the side label (slightly faded as a xerox as always found). Also as usual the gum they used for attaching the labels has lost some of its adhesion over time - so the labels are partly peeling.
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MAP OF AN AREA OF DIMENSIONS 12 X 12 INDICATING 2,304 1/4 SQUARES. 1999. ONE OF 100 SIGNED & NUMBERED EXAMPLES.MAP OF AN AREA OF DIMENSIONS 12 X 12 INDICATING 2,304 1/4 SQUARES. 1999. ONE OF 100 SIGNED & NUMBERED EXAMPLES.London: ICA, 1967/1991 32 x 24.5 x 5 cm two part cardboard box with xeroxed label and a second label on the side containing a 250 piece jigsaw puzzle as usual for the A+L jigsaws. The lack of detail on the jigsaw (although there is a square reference grid) allows A+L to question the role of representation and, in turn, whether representation can really be an isomorphic experience? One of 100 numbered copies signed on the side label (slightly faded as a xerox as always found). Also as usual the gum they used for attaching the labels has lost some of its adhesion over time - so the labels are partly peeling.
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THE JACKSON POLLOCK BAR MORTON FELDMAN JACKSON POLLOCK ROBERT MOTHERWELL. 1999. ADDRESSED TO CHARLES HARRISONTHE JACKSON POLLOCK BAR MORTON FELDMAN JACKSON POLLOCK ROBERT MOTHERWELL. 1999. ADDRESSED TO CHARLES HARRISONLA: J. Paul Getty Museum, 1999 15 X 10.5cm, b/w 2pp full colour announcement card with on an image of Jackson Pollock painting. On the reverse is a note “Best Christian” from the curator Christian Matthiessen and addressed to Charles Harrison (the editor of Art-Language). The card announces films on pollock and Motherwell and a concert by Feldman (Piano and String Quartets from 1985). Fine even though a stamped and mailed copy.
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THE JACKSON POLLOCK BAR WITH ART & LANGUAGE’S THESE ON FEUERBACH. 2004.LA: J. Paul Getty Museum, 2004 10.5 x 15cm, b/w 2pp full colour announcement card with on the front a montage of images from the installation by Martin Horn, Peter Cieslinski, Anna Wouters and Gotthard Lange (directed by Christian Matthiessen). Fine. 20 uk pounds
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A&L. 2008.Wielingen: Mulier Mulier Museum, 2008 22.5 x 16.5cm, 92pp. Embossed yellow boards. Exhiition catalogue for a late show of works by Art & Language which sometime mislabels works as being by the group when in fact they are works by individual members of the group prior to forming the official Art-Language press. 32 works in colour most full page illustrated. VG+ useful reference.
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DON QUIXOTE'S ART & TELEVISION. 1998. WITH 2010 WRAPAROUND.edinburgh; Institute of Local television, 1998 24.5 x 17cm, 48pp. Original card covers. Added later wraparound dust-jacket. Foreword by Terry Atkinson. A consideration of the role of television and art and the importance of locally created content. Originally written in 1998 and issued in the original format, this has an additional later fold around used to re-issue the book at the Models and Metaphors, Concepts and Conceits exhibition in Coventry in 2010. Fine.
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ANALYTICAL ART: READING, WRITING, MAKING AND DOING. 2013.Sanquhar: School Press, 2013 21 x 25cm, 96pp plus boards and pictorial dust jacket. Monograph and exhibition catalogue based on the work of David Rushton which was on exhibit in Merz Gallery - including very early works by Analytical Art which later merged into the Art & Language Group. Cotlour images of works throughout and texts by Rushton and mark Dennis & Chris Gomersal. One of only c. 50 copies published. VG+. Scarce.
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