DOROTHY IANNONE, Put Out The Light, 2022
3 x 29 x 6 cm
cardboard XXL box, matches
edition 500
mint
published by We Do Not Work Alone, Paris, France
inv.IDor 000-000
“Put out the light” is the last edition Iannone Dorothy made before she died in december 2022 at the age of 89. Dorothy became well-known with what she called “ecstatic unity” that referred to erotic and sexual explorations featured in many of her works. In “An Icelandic Saga” she describes a trip made in the late sixties to Reykjavik in Iceland, with her then American husband James Upham. There she met and fell madly in love with Swiss Fluxus artist Dieter Roth.
LEE MCDONALD, Window – green, 2021 [test 2219]
29 x 10 x 10 cm
hand made cardboard box, tape, spray paint can, sticker, plastic bag for spraying
spray painted certificate, hand written instruction sheet
+ personal link to film of test 2219
series of 6 unique DIY works
published by Galerie van Gelder Editions, Amsterdam
€ 350,- plus € 12,- Track & Trace registered EU mail
inv.LMcD 000
This edition is a DIY multiple. The owner is supposed to spray a window glass of any size by following the given instructions. When travel costs are paid, on request the artist is willing to apply the layer of paint ad hoc. Through a personal Internet link each edition number has been tested by Lee McDonald, i.e. the cardboard box itself.
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.LCAz 000-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.KJMa 000-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
published by University of San Diego, San Diego, USA
€ 460,- plus € 18,- Track & Trace registered EU mail
inv.MAbr 000-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.
