JOHN BALDESSARI, untitled [skateboard], 2010
79 x 20 x 6 cm / 31.5 х 8 x 2.8 inches
screenprint, wooden skate decks
edition 500
verso artist’s signature in print
pristine
published by Supreme, New York, USA
€ 620,- + € 35,- registered mail
John Baldessari uses photomontage and painting, combined with language. His deadpan visual juxtapositions equate images with words and illuminate or challenge meaning. He shakes up held expectations of how images function, often by drawing the viewer’s attention to minor details, absences, or the spaces between things and human beings. Obscuring apparently clear scenes or adding stock photography with phrases by placing colourful dots e.g. over faces, he injects humour and dissonance into scattered imagery.
PHILIPPE DECRAUZAT, Super Loco, 2010
EP, 33 rpm
edition 350
recorded and produces by New Humans/Philippe Decrauzat
design by Philippe Decrauzat
published by Circuit edition, Lausanne, Switzerland
mint condition
Two possible soundtracks for “After Birds” 2008 a film by Philippe Decrauzat. Performed by Mika Tajima, Howie Chen, Eric Tsai.
Side A
this but not this…..4:25
contact microphones, analog synthesizer, electronics
Side B
nonstop…..4:25
electric drill, mirrored glass, hammers, electronics
History of price
Circuit edition, Lausanne, Switzerland € 8,- / SFr 10,- October 2012
TAUBA AUERBACH, [2,3], 2010
50,8 x 40,6 x 15,2 cm / 20 x 16 x 6 inches
6 pop-up volumes, cloth slipcase, edition 1000 + 100 AP
published by Tauba Auerbach / Printed Matter, New York, USA
not available
FIONA BANNER, ISBN 978-1-907118-99-9, 2010
offset, HC
issued in both silver and white cover
series of 65 unique copies (originally 20 with ISBN number -99-9)
stamped, signed
published by Vanity Press, London, England
Ref. http://www.fionabanner.com/vanitypress/book11/index.htm
Fiona Banner’s practice centres on possibilities of language. From her ‘wordscapes’ to her use of a found and transformed military aircraft, Banner juxtaposes aggressiveness and the sensual, performing elements of intimacy, attraction and alienation. The artist alternates between the pathos of battle in her monumental sculptures, and a sense of humor in her works on paper in relation to how we mythologize our history, based on our willingness to be seduced by myths.
Each book has its own title, i.e. each print in this edition is the same and yet each is unique. Each one has its own ISBN number and is registered under its own individual title. Each one of the edition is therefore an official publication and each is an edition in, and only of, itself. An edition of one… a book reduced to a reference, purely an imagined space.
Originally the edition of this series was 20. At a later stage the edition was extended to 65.
“A vanity press or vanity publisher is a term describing a publishing house in which authors pay to have their books published. In contrast, mainstream publishers, whether major companies or small presses, derive their profit from sales of the book to persons other than the author. Publishers must therefore be cautious and deliberate in choosing to publish works that will sell, particularly as they must recoup their investment in the book (such as an advance payment and royalties to the author, editorial guidance, promotion, marketing or advertising). In order to sell books, commercial publishers may also be selective in order to cultivate a reputation for high-quality work, or to specialize in a particular genre.” Wikipedia 2012
History of prices:
Vanity Press, London GBP 528.75 May 2021
Vanity Press, London € 116,- / US$ 150.- September 2012
ISA GENZKEN, Mona Isa, 2010
51,5 x 39,5 cm (print size 42 x 30 cm)
C-print
edition 120 + 20 AP
signed, numbered
published by Texte zur Kunst, Berlin, Germany
Isa Genzken is in her work definitively challenged by the notion of sculpture and its practice. Here Genzken engages herself with the artist’s self-representation in a tension between a found internet image and her identity showing herself horizontally hidden behind the head of Leonardo da Vinci’s “Mona Lisa“. Genzken says about ready mades: ‘I have always said that with any sculpture you have to be able to say, although this is not a ready-made, it could be one. That’s what a sculpture has to look like. It must have a certain relation to reality’.
MARLENE DUMAS, Frau ind Hund, 2010
51 x 72 cm
piezografie
signed, dated, numbered
edition 40 + 10 AP
published by Haus der Kunst, Munich, Germany
out of stock
Marlene Dumas uses often aqueous techniques with paint on paper to express intangable notions like Love, Birth, Suffering and Death. In ‘Frau und Hund’ the notion loyalty seems to be the main theme, since this reproduced aquarelle in print alludes with a story about Hitler who after his defeat of Stalingrad would have said that only two friends still stayed with him: Eva Braun and his dog Blondi.
History of prices:
Haus der Kunst, Munich, Germany € 4.000,- September 2013
ALOÍS GODINAT, Bâtonnet, Bâtonnet, 2010
stick 40 x 1,5 x 1,5 cm / shelf 2 x 13,5 x 52 cm
wood, stained, with shelf
signed, numbered on certificate
edition 10
published by Gesellschaft für Aktuelle Kunst, Bremen, Germany € 450,- August 2012
Aloïs Godinat’s artistic practice draws on art historical elements, effecting minimal changes to evoke new meanings and contexts. Godinat is obviously interested in the detail – both in his choice of colours, structures, textures, and in his treatment of the fragment, the image or typography at hand.
PIERRE BISMUTH, Something Less, Something More, 2009
37 x 50 cm
triple corrugated cardboard plate with seven pre-cut discs, metal stick, instructions for use in French and English
wrapped in green, blue, yellow or clear plastic envelope
edition 180
published by CEC / Centre dʼÉdition Contemporaine, Geneva, Switzerland € 250,- / CHF 300.- December 2012
This is obviously a DIY edition of Pierre Bismuth.
DOROTHY IANNONE, Ta(Rot) Pack, 2009
3.75 x 5 inches
offset cards, wooden box, signed and numbered
edition 100 + 10 AP
published by The New Museum, New York, USA
not available
Between 1968-1969 Dorothy Iannone made a series of 27 A4 drawings depicting her life with Dieter Roth while living in Germany, France and Iceland. Dorothy described this period as “always immersed in the beloved.” She called this series of drawings Ta(Rot) (Dieter Roth was also known as Dieter Rot). When Dorothy had her exhibition at the New Museum in 2009, she collaborated with Jarrett Gregory and Daniel Thiem to re-imagine her Ta(Rot) series into a tarot pack edition. She compressed them into 3.75 x 5″ inches laminated cards.
History of prices:
The New Museum, New York, USA 8 December 2012 US$ 200.-
