Detail from Martin Kippenberger's energetic No Wave zine Sehr Gut / Very Good (1979), published shortly after his return to Berlin from a New York visit. See number 6 below.
Printed Matter NY Art Book Fair
Booth A6
April 25–28, 2024
Preview: Thursday, April 25, 6–9pm
548 West 22nd Street, New York, NY 10011Harper's Books is pleased to announce participation in the 2024 edition of Printed Matter's NY Art Book Fair. You can find us on the main floor, at Booth A6, with a selection of our booth highlights below. On the same block, our Chelsea bookshop (504 W. 22nd St.) will launch a presentation of works from the inimitable Martin Kippenberger: posters, drawings, and ephemera, in addition to dozens of his artist's books and catalogues. With expanded bookshop hours: Thursday until 8pm, Friday and Saturday until 7pm, and Sunday from 12-6pm.
1. Marcel Broodthaers Experimentelle Ausstellung: Der Adler vom Oligozän bis Heute: Methodologische Ausstellung (Exhibition Poster) Düsseldorf: Städtische Kunsthalle / Druck Alfried Holle, 1972. Exhibition poster printed to thick cream stock (23.5 x 16.5 inches); unframed. For one of the final installments of his Musée d'Art Moderne cycle (1968-1972)—as its Section des Figures—Marcel Broodthaers designed an experimental museum exhibition at the Kunsthalle in Düsseldorf, in which he gathered together over 200 historical objects and artworks that featured eagle iconography. This unorthodox curatorial methodology, in the context of a State-run museum, resulted in what was regarded as one of Broodthaers' "largest and most
spectacular" events. For the official poster, the Kunsthalle's curator Jurgen Harten gave Broodthaers full autonomy, with the latter producing a poster-in-poster takeover design that foregrounded the exhibition's meta structure. The next month, for his Section Publicité installation at documenta 5, Broodthaers would exhibit this poster as its own artwork. This copy bright and sharp, with minor bumping to corners; near fine. Scarce, with no OCLC records located. One copy illustrated full-page in MoMA's landmark retrospective catalogue. $2000.00
2. Larry Clark Tulsa (Proof Edition with Signed Photograph) New York: Lustrum Press, 1971-1972. Quarto. One of only four sets of unbound proof signatures gathered for this Special Edition during the printing process of the first edition of Tulsa at Lustrum Press (1971), as documented by loose colophon sheet SIGNED by Clark. The signatures are accompanied by a silver gelatin print (6.5 x 8.5 in.), also SIGNED by Clark to lower margin, which was used as printer's proof during the subsequent printing of the Tulsa portfolio in 1972. Signatures near fine, with minor signs of handling. The photograph is in fine condition, with editorial notes to verso in pencil. All elements housed in half-leather slipcase, with silken pull-tab chemise. $12,500.00
3. Melvin Edwards Melvin Edwards: Sculpture (Poster for First Solo Exhibition) Santa Barbara, CA: Santa Barbara Museum of Art, 1965. Exhibition poster (16 x 11 inches) from Melvin Edwards' first solo show, at the Santa Barbara Museum of Art (Mar. 30–May 2, 1965), where he exhibited sculptural works from his Lynch Fragments series. Illustrated after a striking photograph of Edwards with welding glasses. Slight bump to upper corner and faint foldlines, with postage markings to verso; near fine. Archivally-hinged in black lacquer frame (19 x 13 in.). $1500.00
4. Hal Fischer 18th Near Castro St. x 24 San Francisco: NFS Press, 1978. First Edition. Oblong octavo. Artist's photobook from Hal Fischer, documenting the lively comings-and-goings at a bus-stop bench in San Francisco's Castro district across a 24 hour period. Each of the hourly photos accompanied by a summary text from Fischer, briefly narrating the stories of the commuters, cruisers, sunbathers, and drug users. Just a touch of rubbing to the printed blue wrappers, with faint foxing to margins; close to near fine. Uncommon. $1250.00
5. Guerrilla Girls and Women's Action Coalition The Same Old Isms... (Protest Material) New York, 1992. Waxed
paper bag (15 x 11.25 in.), with iconic gorilla image printed to recto and GG manifesto to verso. In advance of the inaugural exhibition at the SoHo branch of the Guggenheim Museum, rumors swirled that only male artists would be exhibited. The Guerrilla Girls thus teamed-up with the Women's Action Coalition to organize a mail-in campaign, to flood the desk of Guggenheim Director Thomas Krens with pink postcards demanding female representation. When the official announcement for the exhibition was made, Louise Bourgeois appeared as the only woman on the programme, alongside Carl Andre, Joseph Beuys, Constantin Brancusi, Wassily Kandinsky, and Robert Ryman. Unsatisfied with what they viewed as tokenism—while equally concerned about the complete absence of artists-of-color—these two activist groups again teamed-up to organize a protest for the June 24th gala opening, at which
protestors and exhibition visitors alike were encouraged to place these gorilla bags over their heads. “Inspired by the old joke that a bag over a woman's head makes us all the same, we passed out gorilla bags for people to wear into the exhibit. Hundreds did, including Bourgeois.” A remarkably well-preserved copy, with only minor scuffing; uncommon thus. $750.00
6. Martin Kippenberger w/ Charlie Ahearn, Diego Cortez, Hans-Peter Feldmann Sehr Gut / Very Good Berlin: Self-published, 1979. First Edition. Oversized folio. An energetic, No Wave compendium from Martin Kippenberger, published after his return from the States. With contributions from a number of figures from the New York scene—e.g. Charlie Ahearn, Diego Cortez, John Lurie—along with the likes of Hans-Peter Feldmann, Tabea Blumenschein, and Meuser. With four contributions from Kippenberger himself, and a number of photographs captured in his Berlin Büro space. Self-wrappers; [44] pages, mostly photographic. One of approximately 1000 copies. (Koch 3). Minor abrasion to lower portion of front cover and some wear to lower edge, else a near fine copy with supple newsprint. With only 4 OCLC records located in North America. $1500.00
7. Martin Kippenberger Jazz in Flammen (Signed and Numbered) Madrid: Galleria Juana de Aizpuru,
1989. Offset poster (27 x 19 inches) designed by Martin Kippenberger for a live jazz performance by Sven Åke Johanson and Rüdiger Carl at Madrid's Galería Juana de Aizpuru. SIGNED by Kippenberger (M.K. 90) to lower corner, and hand-numbered as 25/25. The concert concluded the gallery's exhibition of works from Albert Oehlen, with Kippenberger's follow-up exhibition opening the next evening; the two friends would publish a joint catalogue from these successive shows (Obras Recientes). The poster's background image was appropriated by Kippenberger from a 1930s poster for the Juventudes Socialistas Unificadas. This copy from Kippenberger's 1990 portfolio Mut zum Druck (Courage to Print); fine and hinged in
maple frame (28.5 x 20.5 inches). One of many Kippenberger posters currently exhibited at our Chelsea bookshop at 504 West 22nd St. $2500.00
8. Martin Kippenberger Calourfull Languetsch (Hotel Drawing. Hotel Mencey, Madrid) 1989. Original drawing; graphite and colored pencils to stationery from Hotel Mencey in Madrid (11.5 x 8.25 inches). SIGNED and dated to lower right margin (M.K. 89). One of Martin Kippenberger's signature hotel drawings, reproduced as plate 89 in the Hotel-Hotel compendium (1992). Hinged in wooden frame (19 x 15 inches). One of a handful of Kippenberger drawings currently exhibited at our Chelsea bookshop (504 W. 22nd St.). Price on request
9. Harmony Korine Arkitip: Four Hollywood, CA: Arkitip, 2000. Limited Edition. Oblong octavo. Hand-numbered as copy 28 of 175 to rear cover. Fourth issue of this influential skate-culture artist's magazine, with mostly-visual contributions from Harmony Korine, Green Lady, Misha Hollenbach, and Tobin Yelland. Stapled match-book binding. Some scuffing to front panel, else near fine. $750.00
10. Yayoi Kusama Manhattan Suicide Addict Tokyo: Kōsakusha,
1978. First Edition. Octavo. Kusama's first novel, published in Tokyo the year after she voluntarily checked herself into the Seiwa psychiatric hospital. Strikingly illustrated with over 30 black-and-white leaves, blending abstract imagery with reproductions of her artworks. Amazingly, the novel has yet to be translated into English. Accompanied by publisher's catalogue, with production credits and a voluptuous quote from Kusama: "The motive that made me start drawing was stronger than myself, stronger than love, stronger than art, stronger than flesh. As my psyche and beloved lesions mingled, it decorated the very process of living itself" (translated from Japanese). Bright orange wrappers illustrated after a 1975 Kusama design; minor bumping to edges, thus close to near fine. In stylish orange jacket, featuring chapter titles printed in their English variants (e.g.
"gonorrheal nebula declares sperm rejection" / "no suicide ward in earth general hospital") and a dramatic portrait of Kusama to inner flap; minor fading to spine, with small edge-tears and rubbing, else near fine. Complete with near fine obi, with small repair to verso. Rare, with only two OCLC records located in North America. $3500.00
11. Mark Morrisroe and Nan Goldin Mark Morrisroe (Memorial Portfolio) New York: Pat Hearn Gallery / Renaissance Press, 1996. First Edition. Folio. A posthumous portfolio of 12 photogravure plates derived from the intimate photographs of Mark Morrisroe (1959–1989); produced by Pat Hearn Gallery (New York), where Morrisroe received his first solo exhibition in 1986. Each of the plates (4.5 x 3.5 in.) printed to handmade sheets (15 x 11.5 in.) and hand-numbered as 11/46 to verso by the Morrisroe Estate. The suite introduced by a statement from Nan Goldin, celebrating her old friend and colleague as "Boston's first punk." The photographs, dating between 1978 and 1986, include two nude self-portraits, portraits of lovers and friends, and a few still lifes. Housed in publisher's cloth clamshell case with leather lettering piece to front panel. A fine copy, including original tissue guards. Scarce, with no OCLC
records located. An elegant memorial. $9500.00
12. Bruce Nauman Burning Small Fires [San
Francisco: Self-published, 1968]. First Edition. Quarto. Bruce Nauman's cheeky response to Ed Ruscha's Various Small Fires and Milk (1964), featuring a sequence of 15 black-and-white photographs that document a destructive performance by Nauman, in which he tore up a copy of Ruscha's bookwork and set its leaves aflame. Image sequence printed to large glossy sheet, folded and mounted into stylishly printed card-stock covers. Very minor bump to top of spine, else a close to fine copy. A highspot of 1960s artist's books. $10,000.00
13. Richard Prince Menthol Trilogy (War Pictures / Menthol Pictures / Menthol Wars) New York and Buffalo: Artists Space / CEPA Gallery / Printed Matter, 1980. First Editions. Slim octavos. Three experimental narrative works from Richard Prince, in which he explored the themes of shifting subjectivity and technological mediation; writings that would eventually culminate in his 1983 publication Why I Go to the Movies Alone. Published on three separate occasions: (1) War Pictures for an exhibition at Artists Space (New York), in February 1980; (2) Menthol Pictures at CEPA Gallery in Buffalo, where he would meet Larry Clark during their mutual residencies; and (3) Menthol Wars for a window installation at Printed Matter, at its 7 Lispenard Street location. The appropriated images that formed the trilogy's
illustrated wrappers would themselves become material for a later photographic edition (first exhibited at Metro Pictures in 1991). This set in overall near fine condition, with typical thumb-soiling and a few blemishes to side-stapled wrappers, with faint discoloration to endpapers of Menthol Wars. A scarce set. $10,000.00
14. Richard Prince Why I Go to the Movies Alone (Annotated Proof Copy) New York: Tanam Press, circa 1981–1983. Proof Copy. Xerographic typescript (133 leaves), with scores of annotations from the hands of Prince and an editorial interlocutor. A remarkable document, offering an intimate window onto Richard Prince's writing process, as he developed his veiled literary treatise on photography and technological mediation, first published by Tanam Press as Why I Go to the Movies Alone (1983). Representing an unrecorded state of the book, this copy preserves significant variations from the final published version of the text, in regards to both substance and structure. Accompanied by a series of desktop-printed variants (5 pp.)—almost certainly printed during Prince's
day-job in the tear-sheet department at Time Life—as well as a pasted-up sheet of typescript fragments with manuscript annotations. Housed in custom clamshell case, with leather lettering piece to spine. An incredible survival, from a formative period in the development of Prince's aesthetic, before the reception of his Cowboys series. $35,000.00
15. Jason Rhoades VARIOUSVIRGINS: Definitions of the universe Self-published, circa 1997. First
Edition. Staple-bound octavo. Published on the occasion of Jason Rhoades' second exhibition at David Zwirner ("Deviations in Space," Mar. 22–Apr. 26, 1997), in which the artist occupied the entire gallery with his Spaceball sculpture. This zine, which operates as an aesthetic glossary—supplying Rhoades' definitions for such terms as aversion, diversion, perversion, universion, the brown box, theoretical sculpture, and universal theories—appears to supplement the claim in the Zwirner press release that "the use of abstract terms and concepts in everyday life and language, and the curious absence of clear definitions for these terms, informs parts of Rhoades' new work." Illustrated with a number of black-and-white studio images and concluding with a reproduction of Rhoades' astrological chart. A fine copy, with titles printed to acetate covers, stapled
over color illustrated wrappers. Rare. $1750.00
16. Edward Ruscha West (Cover Design) Los Angeles: Los Angeles Times, 1969. First Edition. Quarto. Offset on newsprint; cover image after a photograph of Ruscha’s oil-on-canvas painting. For the December 7, 1969 issue of West—the Sunday supplement of The Los Angeles Times—Ed Ruscha was commissioned to design the cover; his painting Annie represented inside, in a feature on the art collection of Betty Asher. For the cover, Ruscha created an original word-painting from the journal's title, with its letters painted to resemble spilled liquid. The editors—concerned that their title had been rendered illegible—added the parenthetical caption (west) to Ruscha's
design. Though printed to common newsprint, this copy is remarkably clean and sharp; just a hint of wear along the edges, otherwise fine. $350.00
17. Tom Sachs / Mark Gonzales How to Skate Salzburg: Galerie Thaddaeus Ropac, 2009. Limited Edition zine. One of 125 copies, hand-stamped as number 73 to rear cover. Published on the occasion of Tom
Sachs' Skateboards exhibition at Thaddaeus Ropac, with details of his sculptural skateboard edition printed to rear cover. With contributions from Mark Gonzales, Nick Doyle, Van Neistat, Arsun Sorrenti, Pat Conlon, and Pat McCarthy. The first page reproduces a skater manifesto from Gonzales: "Waiver. I hereby hold Tom Sachs and his studio harmless, and agree not to sue him or his studio for anything that ever happened or happens to me from the beginning of time to the end of the world. I understand that skateboarding is a dangerous activity and that the risks involved are numerous and often unknown or unexpected. I am aware that skateboarding means getting hurt and I might die or become permanently disabled. With this knowledge I proceed with caution and gusto. To skate is to destroy." (Copy Machines Manifestos, 301). Stapled self-wrappers; 20 pages. Fine.
Scarce, with single OCLC record located at MoMA. $500.00
18. Carolee Schneemann The Recent History and Destruction of Lebanon, 1983. A Research Extract to be Read with "War Mop" Self-published, [1987]. Expanded Edition. Octavo. First published on the occasion of Carolee Schneemann's 1983 exhibition at Max Hutchinson Gallery, as a supplement to her video sculpture War Mop, which was on view alongside other works from her Lebanon Series. For this zine, Schneemann collaged together documentation of the violent Israel-Lebanon conflict, with newspaper excerpts, statistics, and images from the bombing of Tyre and Beirut. With this revised edition, Schneemann expands the bibliographical section, while appending a number of recent newspaper excerpts. (Copy Machine Manifestos, pp. 152-3). A fine copy in side-stapled wrappers with contemporary glassine, showing some toning and tear at front joint. Scarce. $500.00
19. Paul Mpagi Sepuya Shoot: No. 4 (with Signed Photo) [Brooklyn, NY]: Self-published, 2005-2006. Limited Edition. Octavo. Hand-numbered as copy 124/150. The fourth installment of Paul Sepuya's occasional zine, featuring a photoshoot with a
topless model named Dean. Interior with 8 black-and-white images and a short erotic poem, with covers featuring two additional images in color. (Copy Machine Manifestos, 354-355). Issued with C-print photograph, also numbered 124/150 to verso and SIGNED by Sepuya; dated 2006. Also laid-in, a folded black-and-white offset print, reproducing a doodled-over photo of the model. A fine copy in stapled photo-illustrated wrappers. $1200.00
20. Alec Soth The Last Days of W (Handmade Maquette with Extra-Illustrated Special Edition) [Saint Paul, MN]: Little Brown Mushroom, 2008. Folio. Handmade maquette used in the production of Alec Soth's elegiac The Last Days of W (2008), in which the photographer revisited images that he'd captured during the two Presidential terms of George W. Bush; "a panoramic look at a country exhausted by its catastrophic leadership." Into a spiral-bound notebook, Soth has here pasted 46 inkjet prints across 62 pages—compared to a count of 36 images across 46 pages in the final publication, which often employs variant sequencing of the images. SIGNED by Soth to first page, with pencil annotations to the
concluding section "Either Dusk or Dawn." Accompanied by a copy of the publication's Special Edition, printed tabloid style to newsprint; also SIGNED by Soth to front cover, with corresponding "placemat" print signed and titled to verso and hand-numbered as 72 of 100. This copy of the Special Edition extra-illustrated with inserted inkjet printouts, reproducing the commercial use for nine corresponding images (e.g. The New York Times Magazine, Telegraph Magazine). Also accompanied by a trade copy of the publication. All elements fine and housed in custom half-leather slipcase with linen chemise. An exceptional artifact from Soth's creative process, for the first DIY publication from his Little Brown Mushroom. $20,000.00
21. Andy Warhol Andy Warhol (Stockholm Catalogue) Stockholm: Moderna Museet, 1968. First Edition. Quarto. An exceptional copy of Warhol's famous "Stockholm Catalogue," published on the occasion of his first European solo show at the Moderna Museet, Stockholm (Feb.–Mar., 1968). The concept for the catalogue was developed by Kasper König, who commissioned Factory stalwart Billy Name and a teenage Stephen Store to photograph the live-work rhythms of Warhol and his co-conspirators. But it was König's use of the xerox machine to reproduce Warhol's own work that gives this catalogue its signature serial feel. (Parr / Badger, v2, 144-145). Remarkably fine in the distinctive silkscreened flower wrappers, with an equally fine example of the printed
cardboard box. $3500.00
22. Martin Wong Firefly Evening (Scroll) Arcata, CA: Self-published, 1968. Offset printed scroll (68.5 x 14 inches), present here in its folded variant (panels 14 x 5.75 inches). "Song of the crickets calling their lovers home... Slow motion tumble thru space." Beginning in the mid-to-late 1960s, Martin Wong produced a number of hand-written scroll poems; his distinctive script inked to impressively long sheets of vellum or paper. With the romantic poem Firefly Evening, Wong self-published his intimate ink-on-paper work via offset printing to heavy paper. Likely only a small number were printed, for distribution or gift by the artist himself; few seem to have survived. Very minor edge-wear, with a faint crease to corner of final panel; close to fine. No OCLC records located; one copy identified at Stanford.
Scarce. $5000.00
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