MIKE KELLEY, Destroy All Monsters Magazine, 2011
together with CARY LOREN, NIAGARA and JIM SHAW
27 x 21 cm
artist’s book, SC, 270 pp.
signed
special edition 100, here numbered 2/100 includes a unique monotype-spray painted page, signed by 4 artists
black and white photograph (signed photo edition number 46/75) by Cary Loren, sealed bag with sand, original mylar envelope mint
published by Destroy All Monsters magazine, Detroit, USA
€ 980,- plus € 24, – Track & Trace registered EU mail
inv.MKel 000-pr
‘Formed in 1973, the Detroit band Destroy All Monsters was a wild and reckless synthesis of psychedelia, proto-punk, heavy metal, noise and performance art. The collective hailed from Ann Arbor, Michigan, and consisted of Cary Loren, Mike Kelley, Niagara and Jim Shaw (with later members including Ron Asheton of the Stooges and Michael Davis of the MC5). Later emerging as extremely distinctive individual artists, collectively the group forged new terrain in art, music, performance, theater and video. Destroy All Monsters released very little recorded music until Thurston Moore issued a three-CD compilation in 1994, but they published six issues of a now legendary and much sought-after zine, also titled Destroy All Monsters. This publication collects those six zines, released between 1976 and 1979, and also includes parts of a lost seventh issue that never saw publication. The Destroy All Monsters zines comprise a vibrant array of collage, writing, photography and other miscellanea by Kelley, Loren, Niagara and Shaw, and together provide insight into the collective’s kaleidoscopic vision of the dystopian values of their time.
“The new reprint volume lacks any introductory or explanatory text; true to Destroy All Monsters’ anarchic spirit, it plunges the reader straight into a frenzied dystopic world. Détourned comic strips, images pulled from pulp magazines, film stills, and tabloid news clippings clash with saccharine greeting cards, family Polaroids, and children’s coloring-book pages, while Op-art backgrounds, scrawled doodles, stickers, and rubber stamps compound the visual pandemonium. All of this is faithfully reproduced in the new facsimile, which is hand-bound and printed on paper of different weights, colors, and finishes—from coated stock to copy paper in elementary-school pastels. Each copy also includes a unique original spray painting by Loren, giving this lavish reproduction an authentically DIY accent.” Gwen Allen, Bookforum review
Ref. https://www.thebookbeat.com/bookshop/catalog/destroy-all-monsters-magazine/
In 1974, while attending the University of Michigan, he co-founded the proto-punk, experimental noise band Destroy All Monsters (DAM). The member of the band were: Mike Kelley on drums and vocals, Jim Shaw on vocals and squeeze toys, Niagara (Lynn Rovner) on vocals, and Cary Loren on guitar and vocals. Having met each other at the university, DAM convened in the basement of Kelley’s student accommodation, also known as ‘God’s Oasis Drive-In Church’, which soon became a communal space for the band to collaborate. Image below shows dirt in a tiny bag from ‘God’s Oasis Drive-In Church’, being part to this edition.
MIEKO SHIOMI, Events & Games, 2005
5 x 14 x 16.8 cm
black and white photograph – crumpled as issued, 22 cards with instructions + loose card with colphon
(incl. Chieko Shiomi: Water Music card)
screen print on plastic box
edition 80 + 5 AP
signed, numbered, here number 64/80
mint
published by 360 grades, Tokyo, Japan
inv.MShi 000-pr
This white plastic box is a re-edition of ‘Events & Games’ from the edition of 1964, signed and numbered by the artist. Mieko Shiomi was a Japanese composer, visual artist and poet.
‘Content
● 23 Instruction cards of various sizes, 1 black & white photo, explanation card in the white plastic box: 14 bilingual cards and the cards of the smallest & medium sizes of “SHADOW PIECE Ⅱ” were printed by George Maciunas for the Fluxus Edition in the early 60’s. The other 7 cards in English were printed by the author for ReFlux in the 1980’s.
● The profile (black & white photo) and the box were reproduced for this edition by Gallery 360°.
After Kuniharu Akiyama passed away, who was an original member of Fluxus and was a conductor for the Fluxus concert at Carnegie Hall, a bunch of instruction cards of Mieko Shiomi were found in his belongings. They are the instructions for the events for Fluxus. Anybody can revive the events just by following the instructions.’
From website of Gallery 360°
Mieko Shiomi began studying musicology at the Tokyo National University of Fine Arts and Music in 1957. Interested in avant-garde music, she founded the group Ongaku with her classmates in 1960, which explored new forms and improvised performances. She then played her first compositions in public. In 1961 she participated in a concert with Toshi Ichiyanagi, the first husband of Yoko Ono, who mentioned the group to George Maciunas. He in turn included them in his tentative program for the Festival of Very Early Music, a programme that he wrote in 1962 but which was never realised; the group split up shortly after. Mieko Shiomi deepened her exploration of spatial-temporal music in relation to everyday objects. Between 1962 and 1963 she began to write exclusively textual pieces that she called action poems. In 1963 she created Endless Box, a multiple composed of 34 boxes in foldable paper of differ sizes, which she sent – on the advice of Nam June Paik (1932-2006) – to Maciunas, thus making her entrance into the Fluxus movement.
Aware-Archives of Women Artists, Centre Pompidou, Paris.
Kuniharu Akiyama (1929-1996), a Japanese avant-garde composer, music critic, producer and poet was a founding member of the Jikken Kobo group of avant-garde artists in the 1950s. As a music critic he was best known for his studies of Erik Satie and Japanese film music. He was married to the pianist Aki Takahashi.
Verso: text on cards are in Japanese with black background.
Gallery 360 grades, Tokyo, Japan€ April 2026 271,83
DAVID HORVITZ, Studio Rent Edition – November, 2017
print on tracing paper, 5 parts, incl. envelope
signed, dated, numbered
edition 10, here 5/10
inv.DHor 000-pr
Each month David Horvitz makes 10 editioned pieces, each of which costs 1/10th of his studio rent. Subscriber receive the edition through mail.
‘In 2010, I was living in Brooklyn. I had just received my MFA from Bard College and I was trying to figure out a studio situation. I don’t necessarily need a studio to make my work, but I’ve always felt it is important to have a designated place outside my home to go to. A silent place where I could sit and think. A place to drink green tea and daydream, to develop thoughts and leave those thoughts there for the next day.
Since I didn’t have a full time job, I couldn’t see myself paying rent for a New York studio over a long period of time. And so I came up with an idea. I would make an edition-of-ten artwork each month. Maybe it was a photograph turned into a postcard, or some photocopies, or a text-work, or a LaserJet print, a watercolor of a flower I stole while walking down the street, or an envelope of sand from a California beach.’ David Horvitz, April 2016
CHRISTINE ALBERTS, Zonder titel, 2001
27,5 x 21 cm
Vogue magazine No.609, die-cut, certificate
signed, dated, numbered
edition 3
privécollectie K. van Gelder
inv.CAlb 967-pr
Added information
Jaap Kroneman’s solo exhibition ‘Chainless Liaison’ in 2001 (in GvG/AP) was on his instigation extended with a table showing various necklaces of graphic and necklace designer Christine Alberts:
JILL MAGID, Particular Old Dutch Houses and some other Royal Things, 2003
6,9 x 10,4 cm
leporello, incl. tipped in tiny 2nd leporello
edition 50
mint, rare
published by Galerie van Gelder Editions, Amsterdam
€ 65,- plus € 12,- Track & Trace registered EU mail
inv.JM 000
This leporello was published by Galerie van Gelder Editions om behalf of Jill Magid’s first solo exhibition in The Netherlands. ‘A colossus of porcelain towers four meters towards the ceiling: the Empire State Building of New York. The work, entitled House 83.5, exists out of hundreds of relief tiles which Jill Magid made at De Porseleyne Fles in Delft. Displayed on a shelf alongside the Delft Blue tower is the complete collection of KLM miniature houses, numbered 1 – 83. The miniatures are modelled after characteristic “Old Dutch Houses”, filled with the Bols Royal Jenever alcohol, and given away as “drinks” to First Class passengers—avoiding a law that disallows airline companies from giving gifts to its passengers.’
JAAP KRONEMAN, Krop Sla / Head of Lettuce (2), 2026
ca 7 x 16 x 13 cm
baked clay, 23.75 Krt gold leaf
series of 3 unique objects
signed, dated
€ 350,- to be picked up
inv. JK 000
KAY ROSEN, “O”, (Open, Orb, Orifice, Donut, Globe, Hole, Whole, Halo, Zero), 1999
diameter 30,5 cm
vinyl stencil, type face Futura Bold
edition 10 + 2 AP + 2 HC + 2 PP
to be installed with florescent Plaka colour nr. 81 (orange), signed on certificate
inv. KRo 000-pr
Kay Rosen works are text based. She finds words, letters for minimal use. In her paintings, drawings, wall works, collages and editions she has used various visual/typographical strategies revealing the unexpected, partly by challenging the way people see and understand words and letters they read. Here, she proposed herself possible references to notions as Open, Orb, Orifice, Donut, Globe, Hole, Whole, Halo and Zero. The work ‘O’ is applied to chipboard with a white background as base. It was shown in ‘Een goed in de weg staande tafel’ at Galerie van Gelder in 1999, curated by Jack Jaeger.
History of prices:
Klosterfelde Edition, Berlin, Germany February 2026 € 1.210,-
Galerie van Gelder, Amsterdam 2001 September 2001 Dfl. 1.500,-
JACK JAEGER a.o., 2001
21 x 15,4 cm
SC, stapled, 20 pp.
edition 500
published by Galerie van Gelder, Amsterdam
inv. JJa 000
A small part of the edition came with a photo or print insert.
Jack Jaeger was an artist/curator who, very early on, recognized the qualities of artists like Henry Bond, Liam Gillick, Richard Hawkins, Wolfgang Tillmans, and ensured their first exhibitions in the Netherlands at Galerie van Gelder with a group exhibition “Mechanical Reproduction” in AP in 1994. He also curated a group exhibition “A table standing perfectly in the way” at GvG in 2001. Here, work by Phyllis Baldino, Lisa Beck, Ellen Cantor, Tom Friedman, Jeremy Deller and Alan Kane, Johan Grimonprez, Elke Krystufek, Kay Rosen, Steel Stillman, B. Wurtz, and many others were introduced for the first time in the Netherlands.
