Dunsyre: Wild Hawthorn Press, 1978
15 x 10.5cm, 2pp. Black on white card with a photograph by Dave Paterson of a toy military airplane made by Finlay which has been attached to a cross bar with string to create a marionette. The plane is painted in British camouflage and decals. The plane is flying amidst clouds (cottonwool?) and ready for battle. This is a companion card to the next one (Marionette 12) and presumably shows the fighter before any encounter with an enemy. VG+.

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N.p.(Edinburgh): Robert Matthew, Johnson-Marshall and Partners, 1978
21 x 30cm, 43pp plus printed glossy covers. A set of proposals by Finlay for architectural and sculptural interventions in the Peterhead Power Station which was to be build. The book was published by the architects as part of the proposals for the site. The drawings by Ian Appleton are given very clear explanations by Finlay - proposed are a wall of glass floats, four stones with carves words indicating the theoretical structure of classical and other universes in fours (suits of cards, directions, elements, primary colours), a maze made out of fishermen's nets (which we would dearly like to see realised), a large stone carving of the SEA'S WAVES'S SHEAVES (which was installed elsewhere eventually), a concrete poem TERRA/MARE to be carved in Caithness Stone, various inscriptions of natural boulders (including SEApink) to be placed on site which remind one of the later PEBBLES series of works, a sundial with the inscriptions Rete Luci Tentu/A Net for the Light, names of fishing boats carved into garden slabs, a large sculpture of a bronze oar placed on a hill far away from the station which would visually reflect the chimney of the newly built station and also be a sort of sundial gnomon along with a site layout which shows the various shadows cast by the oar on the landscape at different times, a large rock with "It's Scotland's Atlantis" carved on it (with the word oil crossed out) an unusually political work by Finlay, and, finally, a carved oar into the face of a heap of sawn boulders (referencing `Ullysses).
To the best of our knowledge none were actualised. The sheer number of wonderful ideas proffered by Finlay for this project is quite astonishing.
This is a wonderful book although the style of the architectural drawings are strange for a Finlay collaboration - one suspects he did not choose the artist.
Murray places this book in amongst other artist's books by Finlay but we have recategorised it as a "proposal" as it clearly is just that and because of the style of the book it does not feel or look like a Finlay publication. This is a rarity and very hard to find. VG+.

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Dunsyre: Wild Hawthorn Press, 1978
8 x 16.6cm, 2pp. A card with two abstract drawings by Jim Downie - one representing the romantic interest of Wordsworth (trees) and the other the Dazzle form of camouflage invented by Edward Wadsworth to help defend ships at sea. Finlay clearly enjoys the slight change in spelling between the names and the resulting hard edge vs organic images. VG+.

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Paris: Editions du Chene, n.d. (1978)
30 x 21cm, 2pp, b/w offset for the first of Boltanski's "reconstitution" artist's books which reprinted a number of earlier works made since 1969 and with two essays by Andreas Franze and Michael Schwartz. Also notes the deluxe version of the book which is signed and numbered with an original work included from an edition of 20 copies. Slight paper damage to the bottom of the leaflet elss VG. Scarce ephemera.

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Guntramsdorf: Nevidal + Seidl, 1978 10.5 x 15cm, 2pp artist postcard with an image on the front of 6 b/w photographs of Beuys ;aid out on a table. Verso a postcard design. The card is signed by Beuys across the image in red felt tipped pen. VG+. Scarce and not noted in any published source. ...

Bremerhaven: Kunstvwerein Bremerhaven, 1978
10.5 x 15cm, 2pp announcement card with a b/w image of a felt suit placed high up on the museum walls just under the ceiling on the front. The suit is as if Beuys is ever present watching the events below. Verso museum details. VG+.

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Achberg: Free International University 1978
10.5 x 15cm, 2pp b/w announcement card for a lecture by Beuys with an image of the artist in full flow on the front, verso details of the event and documentation by R. Rappmann and J. Stuttgen. VG+ but this card has been previously framed and there are paper hinges still present in the corners of the card. This is signed in red ink on the front of the card over the image.

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Firenze: Gallerie de Amicis, 1978 21 xx 15cm, 2pp typographic announcement card - on the second side there is a brief biography of Beuys in Italian. A mailed and franked example with hand-written address. VG. ...

Switzerland: Kunsthalle Bern 1978 24.5 x 24.5cm, unpaginated - approx 80pp plus card covers. Exhibition catalogue and artist's book designed by the artist - b/w images are alternated with text by the artist. Covers a bit grubby (as almost always found) and a little fading to rear covers but otherwise very good. The first of the "white books" by the artist which coincided with this major retrospective where many sculptural objects were displayed for the first time since the artist's early career when he displayed stones alongside a walk in his parents' home....

Warsaw: Galerie Foksal PSP, 1978
15 x 21cm, 16pp (self cover) exhibition catalogue but also artist's book displaying the 14 b/w large photographs of everyday objects which could have been from the artist's past such as a toy cowboy or a jigsaw.
An important exhibition which is on the cusp of Boltanski's change of direction - thereafter for a number of years much of his publicly shown artworks were posed photographs of model or meals or diaoramas. This show both relates to the earlier archiving of his past life (truthful or not) and the future deliberately forged pictures. VG+ although some rusting to the staples.
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