quarta-feira, 13 de agosto de 2014

Ed Ruscha


Artforum. March, 1964.
[with Ed Ruscha's advertisement for Twentysix Gasoline Stations]


For a period of a couple years in the mid-1960s when Artforum was based in Los Angeles the magazine’s offices were in the same building where Ed Ruscha had his studio. Ruscha, who had trained as a commercial artist, occasionally worked for the magazine doing layout and design (he would appear under the name “Eddie Russia” on the masthead of a few issues). In the early years Artforum was perpetually on the edge of financial insolvency so in the March, 1964 issue Ruscha took advertising space in lieu of payment and used it to promote the first of his celebrated artists’ books, Twentysix Gasoline Stations, which he had published a few months earlier. The ad offers the book for $3 a copy. Upon publication Ruscha had sent a copy for inclusion in the Library of Congress’s collection, but the librarian who reviewed the submission, apparently nonplussed, declined to accept it and the book was returned. Ruscha, who has said that he wants his art to elicit a response of "Huh? Wow!", was delighted at this reaction and so his ad touts the book's "REJECTED" status as a primary selling point.  (http://www.6decadesbooks.com)

segunda-feira, 11 de agosto de 2014

Julio Plaza e Regina Silveira







Técnica do Pincel
Serigrafia a cores e nanquim s/ papel
94,7 x 66,4 cm
Série didática, Edições On/Off
Coleção MAC/USP
Doação dos artistas

José Damasceno


Carimbo (Crítica)

Técnica: madeira e borracha
Dimensões (A x L x P) 16 x 32 x 16 cm
Data 2013
Edição 20

Os Carimbos de José Damasceno são dois múltiplos desenvolvidos pelo artista com exclusividade para a Carbono Galeria. Em um, lê-se “Vale o escrito”, que é o mesmo que vai carimbado no jogo do bicho. Em outro, a palavra “Crítica”, abrindo caminho para reflexões.

terça-feira, 15 de julho de 2014

Sol LeWitt



"Artists’ books are, like any other medium, a means of conveying art ideas from the artist to the viewer/reader. Unlike most other media they are available to all at a low cost.  They do not need a special place to be seen. They are not valuable except for the ideas they contain.  They contain the material in a sequence which is determined by the artist. (The reader/viewer can read the material in any order but the artist presents it as s/he thinks it should be).  Art shows come and go but books stay around for years.  They are works themselves, not reproductions of works.  Books are the best medium for many artists working today.  The material seen on the walls of galleries in many cases cannot be easily read/seen on walls but can be more easily read at home under less intimidating conditions.  It is the desire of artists that their ideas be understood by as many people as possible.  Books make it easier to accomplish this."

- Sol LeWitt, Art-Rite Magazine #14, January 1976
(via http://artistsbooksandmultiples.blogspot.com.br)

segunda-feira, 14 de julho de 2014

Henri Matisse



 Interior with a young girl (Girl reading), 1905



Milton Glaser




Paul Paper






Untaken Photographs


Published by Booklet
40 Pages
18 x 12.5 cm
Softcover
BW Offset
Edition of 100
2012
For more than a year, instead of taking certain photographs Paul Paper wrote them down. Untaken Photographs is a book about seeing, photography and, ultimately, the (limits of) image. It is an artistic dialogue with the writings of Jacques Rancière, Roland Barthes and, especially, Vilém Flusser.
Paul Paper is an artist, curator and day-dreamer based in Vilnius, Lithuania. A founder of Sraunus - a traveling photography projection show - he works both on his own and collaboratively.

http://antennebooks.com/books/paul-paper-untaken-photographs

quarta-feira, 25 de junho de 2014

Ben Vautier



Ben Dieu - Art total sa revue,1962-1963
Artist's book, Nice, 1963
Collages, editions, texts, and one copy of
"Fluxus 3 Newspaper Events".
It contains various artist's loose editions and
three chapters in walnut paper folder, 31 x 21 cm.

O livro completo pode ser visto neste link: 
http://www.fondazionebonotto.org/fluxus/vautierben/artistsbook/fx1263.html

Botticelli



ilustrações para a Comédia de Dante (cenas do Inferno)

uma história da leitura




terça-feira, 10 de junho de 2014

Carissa Potter & Luca Antonucci



POCKET BOOK Vol. 1

Carissa Potter & Luca Antonucci
Facsimile and Letterpress
8.5 by 11
Published by Colpa Press
POCKET BOOK Vol. 1  is an inventory of the contents of pockets. This sample was taken from 4-10 pm on Saturday, October 13th 2012 by asking the general public to empty their pockets on to a Xerox machine. No additional editing was done.

This publication was produced with the generous support of Yerba Buena Center for the Arts. We would also like to acknowledge the participants in this live book event. We have done our best to conceal your identity.
Carissa Potter and Luca Antonucci

Special thanks to Lindsay Watson for helping make this book and Richard Ciccarone for inviting us to be part of this exciting event.

Copyright 2012

quarta-feira, 23 de abril de 2014

Julien Nédélec


Feuilleté est un livre blanc dont les pages conservent la trace indélébile des empreintes digitales de Julien Nédélec, puisque chaque exemplaire du livre aura été feuilleté par l'artiste et ses doigts salis par de l’encre. Tiré à 700 exemplaires, chaque exemplaire de ce livre est de fait unique.

Cette nouvelle édition de Feuilleté fait suite à une première édition publiée en 2008, aujourd’hui épuisée. Conçue comme la précédente, elle présente un nombre de pages augmenté et une nouvelle reliure.

« S’il fallait résumer le travail de Julien Nédélec en quelques mots, on pourrait affirmer qu’il se situe quelque part entre Raymond Hains, l’OuLiPo et Claude Closky. Raymond Hains, tout d’abord, pour cette propension à manipuler le langage, transformer le sens en non-sens – ou tout au moins en un sens différent –, s’amuser des renversements sémantiques et continuellement brouiller les pistes. L’OuLiPo, ensuite, constitué dans les années soixante par Raymond Queneau et le mathématicien François Le Lionnais, en raison de son goût pour les séries, les ensembles, les suites complexes et plus généralement les mathématiques. Claude Closky, enfin, pour le jeu permanent, la recherche constante du décalage. » Antoine Marchand (Revue 02)


Caractéristiques techniques
9 euros
48 pages
11,5 x 18,5 cm
Broché
ISBN 978-2-915859-43-0
2013
http://www.editions-zedele.net/feuillete-ne.html

terça-feira, 15 de abril de 2014

Michel Francois



Plié, offset print on multi-offset, 120 grams, A1 (59.4 x 84.1 cm. /23.4 x 33.1 inches) folded to A4 (29.7 x 21 cm. /11.7 x 8.3 inches), edition 100, signed and numbered, 2014
€ 60,-


_____________________________________________
SUNDAY is an editorial project published on a bi-monthly basis. A standard format was developed specifically for this project, in which an artist is invited to conduct an intervention, re-think a work, or make an adaptation.
SUNDAY is a cross between a publication, an artist’s edition, a multiple, and an exhibition.
A foldable exhibition platform, a poster-like monograph, an artwork edition, .........
An A1-size poster folded to A4 size, a colophon, bundled in an envelope.

segunda-feira, 14 de abril de 2014

Raoul Dufy


Olavo Aguiar

trabalho realizado no Workshop de Tipografia
Tipografia Matias, Belo Horizonte/MG
fotografia de Rafael Neder

Waltercio Caldas

 

Objeto
Técnica: acrílico moldado e gravado
Dimensões: (A x L x P) 32 x 23 x 5 cm
Data: 2012
Edição: 40

Waltercio Caldas tem desenvolvido livros de artista ao longo de sua trajetória artística e Como imprimir sombras é o mais recente deles. A obra, feita em acrílico moldado e gravado com o título, foi elaborada com exclusividade para a Carbono Galeria.

sexta-feira, 4 de abril de 2014

Robert Smith

página de revista, 1963

O uso inteligente da entrelinha para criar massas de texto com densidade diferente, revelando a silhueta da taça em frente à garrafa de vinho, ou o líquido na outra garrafa.

quarta-feira, 26 de março de 2014

Keith Smith

anúncio do Mini Cooper, revista AutoWeek, 2002.
Exemplo de peça gráfica pensada para a página, os grampos da encadernação são utilizados como obstáculos para o percurso do carro. 

(imagem do livro Text in The Book Format, de Keith Smith)

Tide Hellmeister






domingo, 23 de março de 2014

quinta-feira, 20 de março de 2014

Rogelio López Cuenca

 
For Copyright Reasons, 2010
Óleo sobre tela
162 x 130 cm
 
Rogelio López Cuenca (España,1959)

quarta-feira, 12 de março de 2014

Sigurdur Gudmundsson

SIGURDUR GUDMUNDSSON, Pavement, street, 1973
Courtesy of the artist and i8 Gallery, Reykjavik (IS)