GALERIE VAN GELDER Bericht 1, 1992
29,7 x 21 cm
photo copy, vintage
edition ca 35
published by Galerie van Gelder, Amsterdam
inv.GvG 000
This is the first newsletter of Galerie van Gelder issued in the beginning of June 1992. It announces the gallery’s participation of Art Basel ’92, being a co-operation of five galleries. This was initiated by John M Armleder who also coined the name “Associated Publishers”. For that he designed a logo “AP” that was supposed to promote a co-operation of publishers in Geneva, Cologne, Amsterdam and New York. An edition “AP” was made by galerie van Gelder Editions on an enamel door plate. The image depicts the letters AP inside a tumbled zero.
LUIS CRUZ AZACETA, invitation card, 1996
17,8 x 17,8 cm, unfolded 70,6 cm long
3 fold leaflet, offset, 8 pp.
text by Tina Yapelli
splendid condition
published by San Diego State University, San Diego, USA
€ 185,- plus € 12,- Track & Trace registered EU mail
inv.LCru 1054-pr
Tina Yapelli: ‘Luis Cruz Azaceta paints his self-portrait repeatedly, in myriad guises and conditions. He intends that his visage becomes the face of Everyman, the typical human being…
RUCHAMA NOORDA, Rx, 2014
16,5 x 11,5 x 2,5 cm
sealed pill, hand stamped cardboard box, instructions for use
edition 50
signed, print dated, hand stamped number
published by Cut issue 12 – magazine about art, Amsterdam
inv.RNo 000-pr
Sticker verso: Ingredients: Compressed landscape. Contains fragments built structures, earth and plant matter collected from two early 20th century utopian communes, the colony of Llano del Rio in Southern California and Walden, a Life-Reform commune in the Netherlands. Manufactured and tested by ReForm, Amsterdam.
KERRY JAMES MARSHALL, invitation, 1997
17,8 x 17,8 cm (unfolded 57 cm long)
3 fold leaflet, offset, text by Tina Yapelli
splendid condition
published by San Diego State University, San Diego, USA
€ 185,- plus € 12,- Track & Trace registered EU mail
inv.KJM 1073-pr
The paintings of Kerry James Marshall are figurative accompanied with a rough-hewn painterly realism with elements of collage, words in lively and highly patchy settings. Images and verbal statements in which the viewer is addressed about the role of the African American in society.
The challenge for Black artists in general is trying to find a place for themselves in an aesthetic regime or aesthetic system, and a history that did not include them as participants in the formulation of its authorizing idea. Here we are operating within a class structure that large number of Black artists don’t come from. The challenge has been trying to figure out a way to get inside, but to come in with imagery that has Black subject matter or Black subjects by a person who is Black. People felt like that particular specificity set limitations on how people were able to perceive the work because there is the notion that the Black body can never really be a universal body. If you come with the Black body in a picture, then people automatically tend to limit their perception of it, believing it is only relevant to Black people. A remedy to that marginalization for African American artists who wanted to be seen as just artists and not ‘Black artists’ was to do abstract work. Kerry James Marshall, interview in Frame, 2019
Ref. Frame, 2 November 2019
ROB SCHOLTE, untitled, not dated
14,7 x 10,4 cm / 15 x 11 cm
digital print on Soft Textured Natural White Etching Paper Surface
2 cards
published by the artist / Rob Scholte Museum, Den Helder, Netherlands
mint
inv.RSch 000-pr
These digital printed cards based on paintings of Piet Mondriaan slightly vary in size due to hand cut paper. The card on the left depicts a painting of Rob Scholte called “Mondriaan Revisited (New York Boogie Woogie)”, the card showing a painting on the right is called “Mondriaan Revisited 2”.
ULAY/MARINA ABRAMOVIÇ, The Sun and the Moon, 1987
63,6 x 48,3 cm (folded 21,5 x 27,5 cm)
offset print on firm paper very rare
condition: splendid to mint
published by University of San Diego, San Diego, USA
€ 460,- plus € 18,- Track & Trace registered EU mail
inv.MAbr 1072-pr
OTOBONG NKANGA, Open Ateliers Rijksakademie, 2002
21 x 14,8 cm
offset, exhibition card
published by Rijksakademie, Amsterdam
inv.ONk 000-pr
Residents who participated in Open Ateliers 2002: Marc Bauer, Erick Beltran, Martha Colburn, Charlotte Dumas, Ryan Gander, Jill Magid, Otobong Nkanga, a.o.
JILL MAGID, Open Ateliers Rijksakademie, 2002
21 x 14,8 cm
offset, exhibition card
published by Rijksakademie, Amsterdam
inv.JM 000-pr
Residents who participated in Open Ateliers 2002: Marc Bauer, Erick Beltran, Martha Colburn, Charlotte Dumas, Ryan Gander, Jill Magid, Otobong Nkanga, a.o.
JILL MAGID, Bring back The Glam, 2002
29,7 x 21 cm
digital colour print very rare
published by the artist
inv.JM 000-pr
This poster refers to an action Jill Magid called “Rhinestoning Headquarters”. She managed to get a permission to ornament four exterior surveillance cameras in police colours at the Headquarters of Police in Amsterdam, 2002.
System Azure Security Ornamentation is my company I invented in order to convince the Amsterdam Police Department to hire me on, as Head Security Ornamentation Professional, to ornament it’s publicly displayed surveillance cameras. Rhinestoned covered cams are permanent on the police building. Jill Magid
Additional information:
JILL MAGID, Rhinestoning Headquarters, 2002
ca 8 x 12 cm
digital colour print
flyer with announcement of performance on Friday 13 September 1 – 5 pm.
inv.JM 000-pr
SYLVIE FLEURY, Vital perfection, 1991
15,5 x 13 cm
SC, stapled, 12 pp., including inlay mint
published by Galerie Philomene Magers, Bonn, Germany extremely rare in this condition
€ 420,- plus € 12,- Track & Trace registered mail
inv.SF 525-pr
This is the first catalogue of works by Sylvie Fleury. Shopping bag installation “It’s Clinique Bonus Time’ (1991) has been installed by her for a second time at Galerie van Gelder in Amsterdam in 1992. She added some bags to it, including the shoppings from where she got the paper bags from in Beverly Hills, Los Angeles, USA.
For some reason it is rarely mentioned that Fleury’s paper bag installations contain original shoppings of Sylvie Fleury. At the time she installed the piece she doubted to take her shoppings with her back home, since all these cloths were personal belongings that fitted her.
Apparently the list of exhibition venues in the biography was added to this publication after it was printed in 1991, since it states shows done in 1992. Or the publisher anticipated on the scheduled solo exhibition at Galerie van Gelder in Amsterdam and a group exhibition at Galerie Gilbert Brownestone in Paris.
