ALISON KNOWLES, Bread and Water, 1992
ca 20 x 14 x 2 cm
woolen glove, paint, ink stamped and PVC plasticised label, rope
signed with initials, dated
This apparently used glove has an industrial plastic coating. The text on the attached label reads: ‘Scratch plastic surface of glove to the ear’. When this is done the hardened paint makes indeed some kind of a rustling noise. Although it is known that Alison Knowles noticed that the cracks in homemade bread had a resemblance to rivers, it is unknown to what extend this woolen glove with ink stamped title refers to bread and water, and so to rivers.
It is not clear whether this object with machine typed text is an edition.
‘Alison Knowles is neither a composer nor a performer in any traditional terms, yet much of her work is obviously some sort of music. When pressed to categorize herself, she told me she conceives most of her works simply as events. Yet even this catchall term does not include her sculpture and prints, or her books and poems. But while she works in many media or intermedia, everything she does comes out of the same basic impulses: a concern for communication between human beings, an appreciation of the aesthetic qualities of ordinary objects, a deep respect for John Cage, and a profound understanding of what “communicating” is really about.’ Tom Johnson in Musical America, 1975.
ALISON KNOWLES, Fortune, 1980
ca 4 x 5 x 4 cm
fortune cookie, print and handwriting on paper, machine typed label
published by Armin Hundertmark, Cologne, Germany
Eat Your Art Out – Food in the Arts, 2010
31,5 x 22,8 x 8,2 cm
cardboard box with stickers containing two black boxes with ceramic multiple, DVD, photos, prints:
Fredie Beckmans, Bernhard Johannes Blume (signed), Hugo Kaagman (signed), Alison Knowles (signed), Pauline Wiertz, Luuk Wilmering (signed), Ton Zwerver (signed)
hand numbered certificate with list of contributing artists
published by Harry Ruhé / Jeannette Dekeukeleire, Amsterdam
ALISON KNOWLES, Wild lentils, 2012
7,3 x 12 cm
text on card, beans, plastic seal bag, (paperclip)
published by the artist
ALISON KNOWLES, Untitled, 1986
ca. 9 x 6 x 1 cm / vitrine 12 x 11 x 11 cm
white bean embedded in papier maché
published by Edition Hundertmark, Düsseldorf, Germany
ALISON KNOWLES, A Bean Concordance, 1983 New York, 1983
28 x 20 cm / 10 x 7.5 inches
108 pp. of which 90 pp. illustrated
published by Printed Editions, New York, 1983
A Bean Concordance gathers together a variety of material that relates to beans from social detritus across cultures. Clippings include pieces about Native American bean rituals, the Japanese tradition of Setsubun, in which end of winter is marked by throwing beans, and Italian proverbs using beans as well as more graphic findings from newspapers and packaging. In short many bean stories, pictures and ephemera collected and designed by Alison Knowles. Contributors include Alison Knowles, George Brecht, Robert Filliou, Simone Forti, Geoffrey Hendricks, Dick Higgins, Anne Tardos, Yasunao Tone, and many others. Estimate $50.00 August 2013
Gem Duck, 1977
SC, 8vo. 270 pp.
edition 1000, numbered, signed with dedication
published by Edizioni Pari & Dispari, Cavriago / Reggio Emilia, Italy
“Gem Duck is a heavy duck fabric cemented to insoles to support and strengthen the insole lip od shoes or boots.”
Association copy, inscribed by the artist to Fluxus traveller Jackson Mac Low: “For Jackson and trips ahead. Alison.” Artist’s book limited to 1000 numbered copies, with this copy unnumbered and out of series. Illustrated with reproductions of xeroxed collages and text on a shoe theme. Some faint discoloration to the wraps; near fine.