London: Anthony d'Offay, 1982
21 x 15cm, 2pp announcement card which has a b/w image of Beuys' Fat Chair on teh front. The Fat Chair was an extension of the earlier Fat Corner works but Beuys saw the chair as symbolic of the human body - hence the organisation of the cold fat into a wedge was reflective of human intervention not that of hard physicality as in the earlier works. Verso gallery details. VG+.
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Gelsenkirchen: Free International University - FIU, n.d. (1982) 10.5 x 14.8cm., black and white photomontage by Johannes Stuettgen consisting of two photographic portraits of Elvis Presley and Joseph Beuys and a text after Beuys: “Wo wären wir hingekommen, wenn wir intelligent gewesen wären!” (Where would we have gone if we had been smart?). Beuys' original quote is actually “Wo wäre ich hingekommen, wenn ich intelligent gewesen wäre!” (Where would I have gotten if I had been smart!) from the work/action Arena (1970-1972). VG+. ...
Dunsyre: Wild Hawthorn Press, (1982)
13 x 25.2cm, 8pp plus card wrappers and printed white dust jacket.
Artist's book with two drawings of the Japanese planes trying to return to their aircraft carrier which is on fire as a result most had to crash into the seas and the pilots drown. The quotation is "The last honey by the water that no hive can find." from Austin Clarke's The Cattledrive in Connaught" 1925. The Clarke quotation has its flaws - it is the bee that seeks the pollen not the hive so the line is rather reversed but Finlay ignores that (as he does in other publications such as the Black Sparrow Press, publication also of 1982 called "Honey by the water." VG+.
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Munster: Westfalischen Kunstwerein, 1981 84 x 62cm, full colour offset exhibition poster for a solo show. One large fabric work displayed above text. VG....
Munster: Westfalischer Kunstverein 1982 24 x 24cm, unpaginated (c. 80pp) plus card covers. Black paper printed gold. Exhibition catalogue/artist’s book with 46 tipped on colour images of works. Text in English by Byars. Fine....
Dunsyre: Wild Hawthorn Press, (1982)
9.9 x 11.1cm, 28pp plus card wrappers and printed white dust jacket.
Artist's book with three sections - the first shows a unit (a dot), a line (two dots) and a plane (three dots). The second is Unit, line panzer (altering the dots into representing military units) and then, finally, unit, line, plane (the last page has two crosses and a dot instead of three dots. The simplest of changes creates significant differences in meaning. VG+
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Middelburg: De Vleeshal, 1982
10.5 x 15 cm card cover content of an 8pp accordion folded card which opens out to 10.5 x 60cm and displays a toy ship sailing during a cardboard cut-out heavy storm.
The images are taken from a Boltanski shadow play installation. The first edition of this delightful artist's book which was issued in a limited edition of only 250 copies of which only c.150 reached the market (personal research after meeting the publisher). Fine.
Ref: Flay Boltanski Catalogue Page 152.
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Little Sparta: Wild Hawthorn Press, 1983
Two folding cards.
The first card is
ARBOR FELICE ARBOR PHILHELLENE
9.3 x 11.7cm, 1pp green on white. A four sided stand up to create a geometric form of tree trunk with the text "ARBOR FELICE ARBOR PHILHELLENE". One translation is "The tree "suckles you" you lover of Greeks" (our flawed translation) but there are other alternatives it seems. VG+
The second card is
THE BIRCH TREE RECALLS YOU O PHILHELLENES
11.6 x 14cm, 1pp green on white. A four sided stand up to create a geometric form of tree trunk with the title text. Again praise for those who praise the Greeks. Birch trees only just grow on the northern borders of Greece and also in colder, higher areas.
These two card sculptures are paired - and there are large scale tree plaques by Finlay that also bear the inscriptions and are expected to be exhibited/installed together. VG+.
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Dunsyre, : Wild Hawthorn Press, (1982)
7.5 x 9.5cm, 12pp plus card wrappers and printed white dust jacket.
Artist's book with a drawing of a circle, a classical column and a cube by Ian Gardner. The text is "Volume makes beauty/ and the most beautiful forms" with the latter on the page with the drawings "are the sphere, the cylinder, the cube." a quote from Vitulio from the 12th century. (One is reminded of Paul Cezanne's similar statement).
Finlay has replaced the cylinder with a classical column - changing Vitulio's statement into a promotion of neo-classicism. VG+
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Gelsenkirchen: Free International University - FIU, n.d. (1982) 14.7 x 10.8cm., 2pp - black and white of a photographic portrait of Joseph Beuys overprinted with the artist's signature. VG+. ...
Dunsyre, : Wild Hawthorn Press, (1982)
7.5 x 9.5cm, 12pp plus card wrappers and printed pink dust jacket.
Artist's book with two drawings by Ian Gardner - one entitled The Orgy of The Cherries - where the stalks and stones are scattered and L'Idylle de Cerises where the cherries are uneaten and the stalks still attached. The L'Idylle de Cerises is a reference from a chapter heading from Rousseau's Les Confessions. Cherries are associated with sexual pleasure and Rousseau mentions them in a context of mild desire. The book (printed on pink to reflect the colour of the fruit) shows the detritus of cherry eating - with all the stones scattered - as a metaphor for an orgy when all the participants are exhausted and strewn across the bed. VG+.
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Bonn: Stadtisches Kunstmuseum, 1984
21 x 10cm, 6pp announcement leaflet with a b/w image of a Beuys' work Konzertflugeljom (from 1969) in b/w on the front. Internally details of the exhibition of works from the Ulbricht collection along with details of various talks and events. This example is signed in red felt tipped pen by Beuys on the front cover and is also stamped with an FIU blue impression on the right. VG+.
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