Artist Book

herman de vries: [wit is overdaad] 1st edition numbered 120 copies published by herman de vries : Arnhem 1960 artists' book with 20 white pages in folder, stapled dimensions: 13.5 × 10.5 cm In very fine condition the first book by herman de vries appeared in 1960. 'book' may be a big word for this small format booklet of a few sheets, bound with two staples and, surprisingly, without print. no title on the cover, it is blank too. on the colophon page only a few words are printed, in very pale ink and in four languages, like a poem: 'wit / wit is overdaad / blanc est surabondance / white is superabundance / weiss ist übermässig / wit / wit / wit is overdaad'. one might say that this book is at the same time an end and a beginning. it constitutes the end of the work of a scientist soon to renounce the study of nature and who has just announced this by renaming the offprints of a personal scientific publication 'manifest of castrated reality'. it also marks the final point of his parallel work as a painter, related to the abstract movement 'zero'. from 1956 herman de vries has been making monochrome paintings and from 1959, white paintings. [source: Anne Moeglin-Delcroix, 'beyond language', in herman de vries. les livres & les publications (saint-yrieix-la-perche 2005) 29]

Mangelos: Shid-Theory Zagreb, 1978. Screenprint on cardboard 8 pages published by the artist 14 1/10 × 9 4/5 in. 35.8 × 25 cm As he himself accurately foresaw, Dimitrije Bašičević Mangelos died in 1987 at the age of 66; in his manifesto Shid Theory, published and exhibited in 1978 in Zagreb, he divided his life into nine-and-a-half “Mangeloses”, ending in the year of his death. Referring in the manifesto to the “bio-psychological theory” he had learned about as a schoolboy in his native village of Šid in former Yugoslavia — according to which the cells in the human organism are completely renewed within seven years and therefore each human being contains several completely different personalities — Mangelos used it to explain the differences between early and late works of various artists, claiming there were two Rimbauds, two Karl Marxes, three Van Goghs, several Picassos and nine-and-a-half Mangeloses. He also applied this method when categorizing and dating his own works: one Mangelos was a critic and curator, while another questioned it all, claiming that one must start from a clean slate; tabula rasa. One was involved in art institutions, while the other doubted the validity of such systems, prompting the third, and ones that followed, to persevere in the formulation of the artistic project termed “No-art”.

Dieter Roth: Gorgona 9 page (each): 8 1/4 x 7 5/8" (21 x 19.3 cm); sheet: 5 7/8 x 4" (15 x 10.1 cm); overall (closed): 8 5/16 x 7 5/8 x 1/16" (21.1 x 19.4 x 0.2 cm) Zagreb, 1966. Stupidogramm (Stupidogram)

Rok 1-4 Rok 1 - Beograd 1969. godine. 22x22cm Rok 2 - Beograd 1969. godine. 22x22cm Rok 3 - Beograd, 1969. Oprema Branko Vučičević (ZMKS) 14x20cm Rok 4a - Beograd, 1970. 21x20,5cm In prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen

Maj 75, broj A; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Gorgona 6 Anti-magazine Josip Vaništa, 1961. screenprint on paper 21 x 19,4 cm

Maj 75, broj Đ, 1980;Vlasta Delimar, Boris Demur, Tomislav Gotovac, Pino Ivančić, Željko Jerman, Željko Kipke, Vlado Martek, Rajko Radovanović, Mladen Stilinović, Darko Šimičić, Zoran Popović 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Maj 75, broj E, 1981; Boris Demur, Željko Jerman, Vlado Martek, Željko Kipke, Zlatko Kutnjak, Vlasta Delimar, Darko Šimičić, Pino Ivančić, Marijan Molnar; na naslovnici Zlatko Kutnjak "Izgažena umjetnost" 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Maj 75, broj Č, 1979; Boris Demur, Željko Jerman, Vlado Martek, Mladen Stilinović, Sven Stilinović, Fedor Vučemilović, Goran Petercol 21x29,5 cm Maj 75 is in prestige list in Artists' Magazines: An Alternative Space for Art (The MIT Press) by Gwen Allen From 1978 to 1984, seventeen issues of “May’75” were published, each issue coded by letters of the alphabet. The magazine was produced by assembling individual works. The artists made their own pages on A4 paper and then bound them together into a magazine format. In addition to the original six, over fifty artists from Ex-Yugoslavia, Germany, Ex-Czechoslovakia, and Italy amongst other countries were invited to contribute their work to the magazine. Each issue including original art work, ready made artwork, ciclostile print work or silkscreen work, texts, concepts, projects, attitudes, ironical and political opinions, collages and photographs which lost almost nothing of their original quality when reproduced or multiplied. Pages were occasionally reproduced by screenprinting in the workshop of Željko Jerman and Vlasta Delimar. Most pages however, were hand-made. By repeating the same, simple and quickly executed work, the artist diminishes the significance of the original. Issues of “Maj’75” with their spontaneous use of available materials and technologies are obviously there to be used and handled, and although they are full of original works, there is nothing of a deluxe edition about them. “Maj’75”, financed by the artists themselves, was usually handed out for free during the exhibition-actions to other artists, friends, critics or passers-by. Later, when the Group of Six Artists no longer exhibited on the streets, distribution was usually managed through personal contacts and through mail. The magazine was never sold through bookstores or in galleries, not because its authors did not want this, but because it was impossible. Each private enterprise was met with countless obstacles in communist countries. “Maj’75” was thus completely unofficial. This had one advantage in that it avoided censorship, but also a drawback, in that the magazine remained little known outside a narrow circle. Branka Stipančić

Knjigarad = Bookwork. Artist Book. Limited and Rare. Galerija Studentskog centra, Zagreb 1980. This book is stapled in the center, creating space for a catalogue for two artists. The left side contains Martek's work and the right side contains Stilinović'

Studentski Centar Sveucilista u Zagrebu, Josip Stosic, Zagreb, 1976. Paperback. Book Condition: Good. French poet and critic, Stephane Mallarme (1842 – 1898) was a major French symbolist poet, and his work anticipated and inspired several revolutionary ar

Maj 75, broj F, 1981; Breda Beban, Rada Čupić, Vlasta Delimar, Sanja Iveković, Jasna Jurum, Vesna Miksić, Vesna Pokas, Bogdanka Poznanović, Duba Sambolec, Edita Schubert, Branka Stanković, Iris Vučemilović

Grupa šestorice autora: MAJ 75 - L Zagreb, 1983. Maj 75, number L, 1983; Željko Jerman, Vlado Martek, Zlatko Kutnjak, Vlasta Delimar, Darko Šimičić, Pino Ivančić, Sven Stilinović, Dobrica Kamperelić, Rajko Radovanović Material/technique felt pen on newspaper Dimensions 42,33 x 29,13 cm

A (Edition a) 4. Serigraphie Brano Horvat. Ivan Picelj, vlastita naklada, Zagreb 1964. Founded by the painter Ivan Picelj edition a represented the aesthetic and ideological positions of the international art momevent New Tendencies, which took root in Za Anti gravi graphitron

Artist Book, nonstories Mangelos. Jedan list, presavijen dva puta. Raširen, u formatu 16x47,8 cm. Sklopljen, format 16x16 cm. Godine 1968. Ivan Picelj je pokrenuo ediciju "a". Sveukupno je publicirano sedam brojeva Ova e

Manifesti: noart. Zagreb: Atelier Tošo Dabac, 1978. Dvojezično (hrvatsko-engleski) izdanje za drugu samostalnu izložbu Dimitrija Bašičevića Mangelosa, održana u Atelieru Toše Dabca, Zagreb 1978. godine. Predgovor Nena Dimitrijević. Published on the occa

Izložbe - akcije 1975-1977, Grupa šestorice autora. Cefft - Centar za fotografiju, film i televiziju. 25.03. - 17.04. 1977. Uključuje rad Mladena Stilinovića i jednu intervenciju u tekstu. Artist's book. Urednik edicije Mangelos. Autori koncepcije i tekst

Maj 75 J iz 1982. godine. Ovu ediciju su pripremili Vlasta Delimar, Boris Demur, Željko Jerman, Vlado Martek i Sven Stilinović. The Group of Six Authors was established in 1975 in Zagreb, Croatia and was active until 1981. The Group's members were Željko

Mixed Media. Artist's Book. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stoljeća Notes je kupljen u Los angelosu, i prvih par stranica je bilo korišteno

Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book iz 2009. godine. Mixed Media. Unikat 1/1. Originalni radovi Marka Tadića. Artist's Book, iz 2009. godine - napravljen u notesu Journal, izrađenom četrdesetih godina dvadesetog stol

Artist Book 21x29,5 cm Radna zajednice umjetnika Podroom, Zagreb 1979. Samostalna izložba Svena Stilinovića se održala 6. - 13. ožujka 1979. Povodom te izložbe autor je objavio katalog s replikama radova i tekst. U tekstu piše o "velikim" radovima i objašnjava što ih čini velikima (dimenzije, što neobičniji materijal, višeznačnost i slojevitost). Smatra da umjetnici koji rade "velika djela" znaju gdje ih treba prezentirati, a to nisu mali prostori nego oni većih dimenzija i velikog značaja. Na ovoj izložbi izložio je seriju tekstova na papiru i dvije kamene kocke dimenzija 1 x 1 x 1 m, naziva Skulpura 1 i Skulptura 2. Skulpturu 3 je postavio u park Ribnjak 1. ožujka 1979., pa je u katalogu objavio dvije fotografije spomenute skulpture.

Mladen Stilinović: Nemam vremena (I Have No Time) Artist Book Prvo izdanje iz 1979. godine. Zagreb. Vlastita naklada. Offset na papiru 7 listova, zaklamano Naklada 70 primjeraka

Gobe v Knjigi (Mushrooms in a book) Iztok Geister (I.G. Plamen) and Marko Pogačnik Ljubljana, 1968. Drawings of mushrooms, circular holes in the front cover and the leaves and colored paper chips acting with the holes. Card covers, spiral binding. 9.1 x 22 cm 40pp letterpress, offset, collages and die-cut pages, spiral bound, 20 sheets

Artist's Book. Artist Edition for Exhibition, Galerija Dubrava, Zagreb January 1979. Postav izložbe Vlado Perović. Naklada 200 primjeraka.