TRACY EMIN, My Photo Album, 2013

TRACY EMIN, My Photo Album, 2013
22 x 18 cm
offset, including art paper print (10 x 8 inches)
signed, dated, edition 100
published by Fuel Publishing, London, England
not available

My Photo Album, which is largely about her childhood and teenage years and not so much about being a confrontational artist she is known for today. It is a personal stash of circa 10,000 photos.

not available

 

 

History of prices:
Fuel Publishing, London, England   GBP 150.- May 2013

JOHN BOCK, Odor-Heimer, 2013

JOHN BOCK, Odor – Heimer, 2013
16,5 x 17,1 x 4 cm
286 grams
cardboard box, four test tubes with different liquids/fragrances, magnetic lid, rolled up drawing in print, text in German and English
regular edition 400
mint
published by Buchhandlung Walther Koenig, Cologne, Germany
p.o.r.

History of prices
Antiquariat Querido-Frank Hermann, Düsseldorf, Germany May € 30,-
Buchhandlung W. Koenig, Cologne, Germany May 2013 € 38,-

 

Extra information.
Apart from the regular edition of 400 on behalf of a solo exhibition at Kunstverein Hamburg six signed copies with unique drawings were for sale. Each cardboard box came with a felt pen drawing by John Bock made for the occasion.

JOHN BOCK, Odor – Heimer, 2013
unique series of 6 signed boxes
drawing on cardboard box, four test glasses with differents fragrances, magnetic lid, rolled up drawing in print, text in German and English
initiated by Kunstverein Hamburg, Germany, May 2013
not available

MARTIN CREED, Work No 1560, 2013 [LP hand painted sleeve]

MARTIN CREED, Work No 1560, 2013
LP, hand painted sleeve
signed, numbered
edition 100
published by The Vinyl Factory, London, UK
not available

 

On 17 April 2013, the night of his performance and the recording, Creed introduced an evening of acoustic music with Moshi Moshi Records in the chapel of The House of St Barnabas. Creed’s album Love To You was released on vinyl in July 2012 on label The Vinyl Factory.

 
example of another hand painted sleeve:

DAVID HORVITZ, The Distance of the Day, 2013 [ set of leporello postcards]

DHorvitz2013cards-distanceoftheDay-recto700

DAVID HORVITZ, The Distance of the Day, 2013
ca 12,5 x 18 cm, 2 parts
set of leporello postcards, beach sand from Maladives and Los Angeles in cellophane envelopes
edition 25
signed, dated, numbered

 

‘In early February I asked my mom to go and watch the sunset and make a video. She did this from the Palos Verdes Peninsula, where I used to watch the sunset when I lived in California. She made the video with her iPhone taped to a metal barrier that protects people from falling over the cliffs.
In synchronicity with her, I too was looking at the sun and making a video. From my perspective the sun was rising. I had calculated where the the sun would be seen as rising at the exact same moment it was seen as setting in Los Angeles. In early February this was the Maldives, a location which may not exist in the near future due to the rising of the seas.
As my mom watched the sun set into the Pacific Ocean, I was watching it rise over the Laccadive Sea. Synoptic is a useful term here. It comes from the Greek syn, meaning “together”, and optic, meaning “seen”. Though separated by thousands of miles, we were watching the sun together.
The title, The Distance of a Day, is a reference to the idea of the journey. Originally, journey meant the distance one traveled in a day. Here, the spatial distance that separated my mother and myself was not defined by the distance one could travel in a day, but by the day itself. By the delimitations of a day – where the sun rises and where the sun sets.
Phones were chosen to make (and display) the video because they are devices that orient us spatially and temporally. They are like contemporary pocket-watches and compasses that we carry with us. They coordinate and synchronize us. They broadcast moments instantaneously across distances. Or, what seems to be instantaneously. There is always some delay.
The same two phones that were used to shoot the videos, that were once on opposite sides of the world, are now used to display the videos. They are now only inches away.
Right now somewhere the sun is simultaneously setting and rising. Someone or something is probably bearing witness to this.’

David Horvitz

 

DHorvitz2013cards-distanceoftheDay-verso700

JOHN BALDESSARI, I will not look at any more boring art, 2013 [sunglasses – black or white version]

JOHN BALDESSARI, I will not look at any more boring art, 2013
signed in print on leg
black version with white text and dark lenses
edition 100
published by Freeway, Los Angeles, USA

ask for details

 

 

 

 

 

JOHN BALDESSARI, I will not look at any more boring art, 2013
signed in print on leg
white version with white text and green lenses
edition 100
published by Freeway, Los Angeles, USA

RICHARD ARTSCHWAGER, Tattly Air Quotes Temporary Tattoos [Quotation marks], 2012

RICHARD ARTSCHWAGER, Quotation marks, 2012 [tattoos]
7,7 x 5 cm
4 quotation marks in plastic envelope, transfer prints, printed paper, staple
edition unknown
For sale in 2013 at the Whitney Museum, New York, USA

The space between two quotation marks either on human skin or e.g. on a gallery wall emphasize these spaces in between. This tattoo work with quotation marks is apparently not made to unravel what is ‘quoted’ in a given space. Whitney Museum, New York – March 2013

In March 2013 on its website the Whitney Museum categorizes this multiple as an edition that is ‘Reminiscent of Richard Artschwager’s artwork, where he utilizes punctuation outside of its normal realm, rendering its meaning questionable’ and was sold as “Air Quotes Temporary Tattoos”. There is no printed name of Richard Artschwager as a kind of authorization comparable to the “Richard Artschwager Quotation Earrings” The Whitney had simultaneously for sale.

Ref. Richard Artschwager, Quotation Mark Earrings.

CUT magazine about art, issue # 9, 2013

CUT magazine about art, issue # 9, 2013
29,7 x 21 cm
digital print, tipped in program of 2nd set of performances, 16 pp.
edition 80, incl. 6 signed by Sigurdur Gudmundsson

‘CUT magazine about art appears irregularly however often’ and is published by Galerie van Gelder. This issue opens with a part of the diary of Sigurdur Gudmundsson together with color reproductions of new sculptures he made in China. Further more a visual report of gallery performances by Roderick Hietbrink, Kate Levant, Ekko Lokkwa and Kroôt Juurak invited by Aditya Mandayam.