Brassaï

fotografias de muros de Paris

Antonio Dias

Klaus-Peter Dienst

Augusto de Campos - Profilogramas

profilograma pound/maiakóvski

geraldo de barros

dp

O profilograma de Décio Pignatari foi composto em comemoração aos 60 anos do poeta. Faz parte do  perfil a citação de autores traduzidos por Décio (Oswald, Dante, Pound), o nome de poemas (LIFE, organismo), a citação de um procedimento de composição da fase heróica (a repetição "e no entanto").

Na geleia geral brasileira alguém tem de exercer as funções de medula e de osso.

Augusto de Campos, por ocasião dos 60 anos de Décio Pignatari (1987), elaborou um profilocaligrama dp que assim se inicia: “a geléia geral/que te deve até o nome/não engoliu o teu/décio pignatari/medula e osso”…! Entre outras tantas expressões cunhadas por Décio Pignatari, não poderia me esquecer de O poeta é o designer da linguagem.  

http://www.revistazunai.com/materias_especiais/decio_pignatari/breakfast_com_geleia_omarkhouri.htm

Anne Berning

 

 artbooks (D) . 2006.  15 parts . 240 x 177 cm . oil on canvas

 

 

artbooks (G,H) . 2006 . 17 parts . 250 x 272 cm . oil on canvas

 

 

artbooks (I,J,K) . 2006 . 20 parts . 250 x 250 cm . oil on canvas

 

 

artbooks (V,W,X,Y,Z) . 2007 . 13 parts . 250 x 185 cm . oil on canvas

 

http://anneberning.de/index.php?en_artbooks

Andy Warhol

 

capas para o Velvet Underground. A edição original tinha um adesivo removível, para descascar a banana.

 

Rolling Stones, uma de suas melhores capas. O verso mostra o mesmo homem de costas.

Paul Anka

Ed Ruscha

Artforum. March, 1964.

[with Ed Ruscha's advertisement for Twentysix Gasoline Stations]

For a period of a couple years in the mid-1960s when Artforum was based in Los Angeles the magazine’s offices were in the same building where Ed Ruscha had his studio. Ruscha, who had trained as a commercial artist, occasionally worked for the magazine doing layout and design (he would appear under the name “Eddie Russia” on the masthead of a few issues). In the early years Artforum was perpetually on the edge of financial insolvency so in the March, 1964 issue Ruscha took advertising space in lieu of payment and used it to promote the first of his celebrated artists’ books, Twentysix Gasoline Stations, which he had published a few months earlier. The ad offers the book for $3 a copy. Upon publication Ruscha had sent a copy for inclusion in the Library of Congress’s collection, but the librarian who reviewed the submission, apparently nonplussed, declined to accept it and the book was returned. Ruscha, who has said that he wants his art to elicit a response of "Huh? Wow!", was delighted at this reaction and so his ad touts the book's "REJECTED" status as a primary selling point.  (http://www.6decadesbooks.com)

Julio Plaza e Regina Silveira

Técnica do Pincel
Serigrafia a cores e nanquim s/ papel
94,7 x 66,4 cm
Série didática, Edições On/Off
Coleção MAC/USP
Doação dos artistas

José Damasceno

Carimbo (Crítica)

Técnica: madeira e borracha
Dimensões (A x L x P) 16 x 32 x 16 cm
Data 2013
Edição 20

Os Carimbos de José Damasceno são dois múltiplos desenvolvidos pelo artista com exclusividade para a Carbono Galeria. Em um, lê-se “Vale o escrito”, que é o mesmo que vai carimbado no jogo do bicho. Em outro, a palavra “Crítica”, abrindo caminho para reflexões.

Sol LeWitt

"Artists’ books are, like any other medium, a means of conveying art ideas from the artist to the viewer/reader. Unlike most other media they are available to all at a low cost.  They do not need a special place to be seen. They are not valuable except for the ideas they contain.  They contain the material in a sequence which is determined by the artist. (The reader/viewer can read the material in any order but the artist presents it as s/he thinks it should be).  Art shows come and go but books stay around for years.  They are works themselves, not reproductions of works.  Books are the best medium for many artists working today.  The material seen on the walls of galleries in many cases cannot be easily read/seen on walls but can be more easily read at home under less intimidating conditions.  It is the desire of artists that their ideas be understood by as many people as possible.  Books make it easier to accomplish this."

- Sol LeWitt, Art-Rite Magazine #14, January 1976
(via http://artistsbooksandmultiples.blogspot.com.br)

Henri Matisse

 Interior with a young girl (Girl reading), 1905

 

Milton Glaser

Cartaz da exposição Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art (1966), realizada na School of Visual Arts, com curadoria de Mel Bochner. 
A exposição consistia em quatro fichários idênticos com cópias de desenhos de artistas e outros profissionais que utilizam o desenho. O estudo para o cartaz fez parte da publicação.

Paul Paper

Untaken Photographs

Published by Booklet

40 Pages
18 x 12.5 cm
Softcover
BW Offset
Edition of 100
2012

For more than a year, instead of taking certain photographs Paul Paper wrote them down. Untaken Photographs is a book about seeing, photography and, ultimately, the (limits of) image. It is an artistic dialogue with the writings of Jacques Rancière, Roland Barthes and, especially, Vilém Flusser.
Paul Paper is an artist, curator and day-dreamer based in Vilnius, Lithuania. A founder of Sraunus - a traveling photography projection show - he works both on his own and collaboratively.

http://antennebooks.com/books/paul-paper-untaken-photographs

Ben Vautier

Ben Dieu - Art total sa revue,1962-1963

Artist's book, Nice, 1963
Collages, editions, texts, and one copy of
"Fluxus 3 Newspaper Events".
It contains various artist's loose editions and
three chapters in walnut paper folder, 31 x 21 cm.

O livro completo pode ser visto neste link: 
http://www.fondazionebonotto.org/fluxus/vautierben/artistsbook/fx1263.html

Botticelli

ilustrações para a Comédia de Dante (cenas do Inferno)