Art & Architecture Library

2011-2012

Local conditions : one hundred views of Mount Rainer (at least).

Chandler O'Leary.
Tacoma, Washington : Anagram Press, 2010.
N7433.4 .O53 L63 2010 ARTLCKM

Referencing Hokusai's One Hundred Views of Mt. Fuji in both name and style, Chandler O'Leary's Local Conditions presents a collection of 120 letterpressed, hand-colored, and hand-cut cards that, in combination, recreate [at least] one hundred different views of North America's Fuji sibling: Mount Rainier. O'Leary's creative process included two years of documentation through sketches and photographs. One of her goals was to present Rainier as impermanent, changing, "restless;" each view a record of a moment passed.

2010-2011

5 year plan.

Aaron Sinift et al.
[Ridgewood, NY? : A. Sinift] 2010.
[32] leaves : chiefly col. ill. ; 34 x 34 cm. + 1 book (xii, 164 p. ; 18 cm.)
N7433.4 .S588 F5 2010 ARTLCKM

Inspired by jholas (simple Indian bags made of handspun cotton, decorated with commercial, political, or natural images), this collaborative artists' book--made of the same handspun khodi cotton--was created with Gandhi's goals of economic self-sufficiency and sustenance of valuable traditions in mind. Twenty-six artists, including Francesco Clemente and Yoko Ono, contributed their images to the project; the fabric, produced by artisans in India, was silkscreened with these images and then hand-sewn into a cloth codex. In conceiving this project, Aaron Sinift's goals were to support the tradition of handmade goods in India; to pay respect to Gandhi's lasting accomplishments; to establish a participatory practice; and, finally, to create a beautiful object.

Abeceda.

Vítězslav Nezval ; taneční komposice Milči Mayerové.
V Praze : Nákl. J. Otto, 1926.
57, [2] p. : ill. ; 30 cm.
PG5038 .N47 A62 1926 F ARTLCKM

Industrii͡a sot͡sializma.

Industriia sotsializma foldouts_1_0_0.jpg

[otvetstvennyĭ redactor B.M. Tal ́; Zam. otv. redaktora B.F. Malkin ; chleny redakt͡sii V.M. Verner, P. I͡U. Krivit͡skiĭ, A.F. Kharin ; Khudozhestvennai͡a redakt͡sii͡a I.P. Abramskiĭ ... ; avtor khudozhestvennogo postroenii͡a alb́oma Ėl ́Lisit͡skiĭ ...].
Moskva : Stroim ("Za industrializat͡siiu") : Izogiz, 1935.
7 v. : ill. (some col.) ; in portfolio, 37 cm. + 2 maps (in v. 7), col. on 2 sheets (62 x 91 folded to 31 x 23 and 91 x 64 folded to 23 x 33.)
HC335.5 .I6 1935 F ARTLCKM

The Post Testament : connoting today's standard version.

Xu Bing.
Madison, WI. : Publication Center for Culturally Handicapped, Inc., 1993.
N7433.4 .X8 P68 1993 ARTLCKM

The Post Testament, an edition of 290 volumes (the Art & Architecture Library's copy is an artist's proof) printed in letterpress and bound in leather with gold accents, is an element of the installation Cultural Negotiation. The book, meant to look like a classic antiquarian volume, is in fact an unconventional text, a contemporary exploration of cross-cultural communication and societal values. Created by alternating words from the King James Version of the New Testament with those from a mass market novel, the English text is almost, but not quite, readable. Through its illegibility, the text highlights the complications that occur when discordant contexts within a society--the high and the low, for example--are brought together. In the Cultural Negotiation installation as it was realized at the Wexner Center for the Arts in 1993, The Post Testament was placed alongside volumes from the artist's project Book of Heaven (which is comprised of texts and characters that appear to be--but aren't--Chinese); this juxtaposition extended the concept of discordant contexts into the charged dichotomy of East and West.

Tragic book 1-9.

Various authors.
[Brooklyn, N.Y.] : Artichoke Yink Press, 1993-2005.
Dimensions variable.
N7433.35 .U6 T73 V.1-9 ARTLCKS

Tragic Book is a set of nine collaborative artists' books organized by book artist Christopher Wilde and published by his Artichoke Yink Press. As Wilde himself describes it, the books were conceived as “the opposite of a comic book…a compendium of tragedies large and small.” What this meant in practice, however, evolved over the twelve years. At the beginning, in 1993, the youthful content was focused upon the odd and disgusting; the aesthetic was very “’zine:” hand-drawn, photocopied, and staple-bound. Issue number three (1993) moved beyond staple binding, but the grotesque aesthetic continued in the production of latex covers molded to resemble vomit. By 2001, the year in which issue number eight was produced, the concept of tragedy had become much more tangible, the events of September 11 having taken place outside Wilde’s window in the midst of the issue’s production. The book itself had by this time moved into the realm of fine press production: number eight is traditionally bound in small format, printed using multiple processes including letterpress and lithography, and covered in commercially produced lenticular images. Indeed, one of the series’ most interesting aspects is its stylistic evolution which parallels the publisher’s and artists’ increasing commitment to the project as well as the maturing of their own careers. Some of the artists (including Mark Wagner, Marshall Weber, and Scott Teplin) have, in fact, gone on to establish quite successful careers in visual art and poetry in New York, Los Angeles, and elsewhere. Each issue exists in an edition that corresponds roughly with the number of contributors. Contributors were not paid for their efforts, and no issues were offered for sale; accordingly, Stanford's copies are the first to be held in any library collection.

2009-2010

Les Robes de Paul Poiret.

racontées par Paul Iribe.
Paris : Se trouve ... chez Paul Poiret, couturier, [1908].
[13] leaves (2 folded) : all col. ill. ; 33 cm.
TT505 .P6 I75 1908 F

Paul Poiret’s dresses alone would have established him as the most important fashion designer of the early twentieth century. They were a remarkable break from the conventions of the nineteenth century, absent as they were of the formerly requisite corsets and petticoats. The silhouettes were free-flowing, the fabrics often inspired by the Far East.

More than this, however, Poiret reenvisioned fashion’s place in both art and commerce. As a courtier, he fostered a social circle in which his haute couture designs mingled with the painted and sculpted works of his comrades Constantin Brancusi, Robert Delaunay, Raoul Dufy, and Henri Matisse, among others. As he was an avid collector of these artists’ work, so several artists, in turn, used his designs as their own subjects. Man Ray and Edward Steichen, for instance, both created several portraits featuring Poiret’s garments. Yet Poiret balanced this move toward high art with the crafting of a widely appealing commercial image, in which he marketed his dresses (including carefully regulated reproductions of couture originals) alongside his own line of perfumes and in the context of complementary home décor.

Poiret promoted this balance of art and commerce most famously in his expensively produced publicity albums, the first of which was Les Robes De Paul Poiret (1908), illustrated by the young artist Paul Iribe. In this first album, Iribe presented Poiret’s garments (hand-stenciled in labor-intensive pochoir—a rare method in fashion illustration) as worn by expressive, social women in spare yet opulent, Art Nouveau interiors. This animated attitude was a new approach for the until-then stiffly composed fashion plate; its effect is still evident in fashion photography today. Poiret’s distribution of the album for free to chosen clients was an entirely innovative marketing strategy, meant to present the designs as representative of a lifestyle, an all-encompassing look. Les Robes De Paul Poiret is the designer’s attempt at encapsulating fashion as he saw it: as the keystone of a contemporary Gesamtkunstwerk.

Sieben auf einen Streich : sieben Märchen der Brüder Grimm.

Graphik von Eckhard Froeschlin.
[Frankenhardt] : Ed. Schwarze Seite, 2006.
[62] p. : many ill. ; 39 cm.
GR166 .G7575 2006 F

Eckhard Froeschlin's interpretation of seven of the Brothers Grimm's fairy tales is delightfully true to the macabre spirit of the original works. His etchings, presented in shades of ochre, burnt umber, slate blue, and black, punctuate the tales with abstract landscapes and misshapen bodies. Sixteen-point Helvetica type, printed in letterpress, lends gravity to words that have often been translated into much gentler forms.

2008-2009

L'Archimede di Piero [2007 facsimile edition]
della Francesca Piero
Sansepolcro (Arezzo) : Grafica European center of fine arts, 2007
82 leaves of plates : ill. ; 31 cm. + 1 suppl.
QA31 .A694 2007 F

Only recently discovered and attributed, Piero della Francesca’s undated [fifteenth-century] manuscript consists entirely of writings by the Greek mathematician Archimedes. It is a sort of “reprint” composed by hand, with marginal diagrams recreating Archimedes’s studies of simple geometric forms. As such, the manuscript serves as elegantly presented evidence of the great Renaissance painter’s intense personal commitment to understanding mathematical theory, especially that of the classical thinkers. More generally, the work underscores the interdisciplinarity so often at play in Renaissance artistic output as well as the interest visual artists held in circumscribing the physical world around them. The Library’s facsimile edition, one of 999 copies, includes commentary by Roberto Manescalchi and Matteo Martelli.

La photographie n'est pas l'Art ; 12 Photographies
Man Ray ; avant-propos de André Breton
[Paris] G.L.M., 1937
5 p. ℓ., 12 pl. 26 cm
TR650 .R35 1937

Les Mains Libres: Dessins
Man Ray ; illustrés par les poèmes de Paul Éluard
Paris : Éditions J. Bucher, 1937
176, [29] p. : ill. ; 29 cm
NC139 .R38 A4 1937 ARTLCKS

These two works, both from 1937, mark a major turning point in Man Ray’s artistic career, with La Photographie summing up his photographic career and Les Mains Libres charting future creative directions. In 1937 he decided to give up photography altogether [“Photography is not the art”], rented a studio in Antibes, and devoted himself to drawing and painting. La Photographie also serves as a summing up of Man Ray’s earlier Dada tendencies, with its Duchampian puns for the photographs’ titles. Many of the drawings reproduced in Les Mains Libres served as points of departure for related paintings, reliefs, and other works as his focus shifted from photography to other media. His use of hands on the front and rear covers he designed for Les Mains clearly indicates his desire to move away from photography and towards painting.

While both works are significant in Man Ray’s oeuvre and are extensively referenced in the Man Ray literature, neither title could be classified in the grand tradition of livres d’artiste, a format that Man Ray never really embraced. Both are commercially printed, yet at the highest standards. As is typical of his artistic production, which is marked by inference rather than proclamation, they do nod in the direction of the livre d'artiste and its associations with artistic exclusivity and self-reflexivity.

Le coeur à barbe: journal transparent
Paris : Au Sans pareil, 1922
1 v. ([8] p.) : ill. ; 23 cm
N6494 .D3 C64

Dada (much like its related movement Surrealism) was punctuated by rivalries and disagreements regarding guiding philosophies and resulting visual styles. As Dada was so mired in language and its manipulation, these rivalries often surfaced in words on the pages of journals, manifestoes, handbills, and posters. A disagreement that developed between former colleagues and movement-guiding figures Francis Picabia and Tristan Tzara came to a head in March of 1922 when Picabia published La Pomme de Pins and claimed, among other things, that “Tristan in his cotton cap thinks he’s still at Zürich” [a reference to the city where Dada was founded; many of the members had since moved on to Paris, Berlin, Cologne, and other locales]. Tzara’s response the following month was the single-issue journal Le Coeur à Barbe, fueled by support from Marcel Duchamp, Paul Éluard, Erik Satie, and others. The attack on Picabia within its pages was indirect and certainly unintelligible to the uninitiated; more than anything, the asserted loyalties of all of the paper’s contributors demonstrated that Picabia was increasingly irrelevant to the world of Dada.

The cover design, attributed to Iliazd (a Georgian writer and artist who lived and worked in Paris), is one of the most recognizable images in Parisian Dada: simple engraved images combined with wood type and juxtaposed into well-planned absurdity. It is a prime example of early 1920s avant-garde page design.

Le Nouveau Spectateur
Ed. Roger Allard
Paris : C. Bloch
AP20 .N7 ARTLCKS
Library has: no 1(1919)-no 20(1921)

Roger Allard was one of the early critics to support the early Cubist works of Pablo Picasso and Georges Braque, and played a leading role in gathering the Cubists for their first group exhibition at the Salon des Independendants (1911). With Jean Metzinger and Maurice Raynal before World War I, and with Daniel-Henry Kahnweiler shortly after, Allard argued that Cubism was a conceptualized depiction; it was about reality. But in the years after WWI Allard criticized the Cubists for becoming increasingly hermetic, and he began to support artists whose work was more naturalistic. Le Nouveau Spectateur covers these later years, and analyzes cinema, art and Bolshevism, decorative art, and the works of the leading French artists of this stylized naturalist movement, such as André Dunoyer de Segonzac, Guy Pierre Fauconnet, Marcel Gromaire, Jean-Emile Laboureur, and Raoul Dufy, as well as Henri Matisse and Picasso. Allard’s post-War critique of cubist abstraction can be seen to presage the Cubists’ return to naturalism themselves in the 1930s. Each issue is illustrated with reproductions or original woodcuts by these and other artists.

Les spectres du désert
Toyen ; accompagné des textes de Henri Heisler
Paris: Editions Albert Skira, 1939
[16] leaves : ill. ; 29 cm
N7433.4 .T69 S64 1939

Toyen was a painter, illustrator, founding member of the Czech Surrealist group, and, as a woman, part of a somewhat underrepresented segment of the larger Surrealist circle. In 1939 Toyen, who had moved through Cubism and abstraction to a form of representation based upon the language of psychoanalysis, was in hiding in Prague, her work having been publicly banned. The images she created for The Spectres of the Desert reflect the horrifying climate in which she was forced to work, her increasingly foreboding totemic images having become isolated in space and trailed by deep shadows. After the war, Toyen moved to Paris and became an active participant in post-war Surrealist production. But it is in this cycle of drawings (and two others—The Rifle-Range and Hide Yourself War!) that she makes her mark as a keen documentarian of the (often irrational) psychological effects of war.

The Mission Miracle Mile Trilogy
by Dana Smith
San Francisco : Dana Smith, 2009
3 v. : all col. ill. ; 32 x 42 cm
N7433.4 .S553 M57 2009B

Dana Smith is a longtime resident of the Mission District of San Francisco, one of a number of exhibiting artists (loosely referred to as the Mission School) whose aesthetic and working methods are fundamentally informed by the socially, culturally, and economically diverse neighborhood. She works primarily in the photographic medium, distorting her images—often of the Mission itself—through collage or digital manipulation and then collecting the resulting compositions into portfolio or book form. To date her most compelling works have been, arguably, collaborative ones, her images and page layouts serving as hyper-real backdrops for work by partner Mission artists.

The Mission Miracle Mile Trilogy, however, is a solo effort in which Smith’s digitally enhanced photography takes center stage, and as such (in conjunction with her poetry volume Sanctuary in My Skin from 2008) it seems a turning point in the artist’s career. The thirty-two-inch page spreads are printed full-bleed with saturated images of sidewalks, bus transfers, crushed pills, street vendors, tattoos, transients, and schoolchildren. The effect is dramatic, each page turn evoking the atmosphere of the street and the feeling of progressing down it. Across three volumes, the project approaches the monumental.

Utopie
Paris : Editions Anthropos, 1967-1977
17 v. : ill. ; 23-27 cm
NA9000 .U88 ARTLCKS
Library has: no 1(1967)-no 17(1977/1978)

Utopie is a sixteen-issue journal (one issue being a double number) that was published by the French ultra-leftist group of the same name in the years leading up to and following the tumultuous events of 1968. In a sense, in its focus upon urban forms and the politics of space, it was an architecture journal, but the group’s collective aim was to move beyond the discipline into a more philosophical and less illustrative realm. Members of the group hailed from the disciplines not only of architecture but of sociology and philosophy (Later, the journal adopted a stance of author anonymity so as to stress pure theory over idiosyncrasy.). Contributors to the journal included the its founder Hubert Tonka, Jean Aubert, Isabelle Auricoste, René Lourau, and, most famously, Jean Baudrillard.

Utopie as a group paralleled the Situationists, though it could be argued that the Situationists focused more on practical political action than Utopie did. Baudrillard, in discussing Utopie and its journal, separated his group from the Situationists (with which he had been associated earlier in his career) by claiming: “For us, 1968 was already more than politics. It was symbolic, almost ‘metahistorical.’ Thereafter, it was all over. In the 1970s, we passed beyond the end. Thereafter, we passed entirely to the side of theory." The Art & Architecture Library owns the six published volumes of The Situationist Times (NX600 .C6 S58 NO.1-6 ARTLCKS); Utopie serves as a wonderful complement and counterpoint to this collection.

It is worth noting, too, the character of Utopie’s graphic design, each issue’s cover bearing a single color with bold lowercase text. Even as its contributors moved more and more toward an erasure of the visual in favor of the theoretical, appearances—and their uniqueness—certainly mattered.

Walls Paper
Gordon Matta-Clark
[New York?] : Buffalo Press, 1973
[136] p. : all ill. (chiefly col.) ; 26 cm
N6537 .M43 A4 1973

Gordon Matta-Clark (1943-1978) is best known for his artistic practice of carving existing buildings during the period 1972-1978. Using a chain saw, Matta-Clark treated vacant buildings as raw, sculptural material. Influenced by the land art of Robert Smithson, Matta-Clark cut into and through buildings in an urban-based sculptural practice, calling his interventions “Anarchitecture.” He documented the cuttings in films and photographs which he subsequently exhibited in galleries, occasionally with fragments from the buildings themselves. In a series of “cut drawings” (1972–6) he developed his idea of the cut as a technique. Walls Paper functions in a similar vein. Based on colored photographs of peeling wallpaper from abandoned buildings, Matta-Clark cut each page in half horizontally. Maintaining their top/bottom orientation, he staple-bound the split pages in two sections, the top halves composing the top half of the book, and the bottom halves the bottom portion. One can flip through the top half and the bottom half of the book simultaneously, or vary the flipping to create new combinations between the top and bottom portions of the book.

Wendingen Archive, 1918-1931
Amsterdam : MHCHIJ De Hooge Brug
8 linear feet (12 clamshell boxes of original journals, 2 flat boxes of manuscript material, 1 original artwork of cover, framed
M1671

The title of this early twentieth-century journal, Wendingen, is based on a phrase from Friedrich Nietzsche, "Umwälzung aller Werte" [upheaval of all values]. Hendrik Theodorus Wijdeveld, the journal’s founder, translated the term "Umwälzung" into Dutch as "omwentelen" [revolve], then as "wentelen" [turn about], and, finally, as "wending" [turn]. "Wendingen" is the plural of "wending." Hence, Wendingen implied a sense of turnings, as in turning away from the past and toward the future. To this end, Wijdeveld, who designed and edited most of the one hundred sixteen issues himself, oversaw the journal’s adoption of graphically innovative covers that opened to reveal beautifully gridded and typeset pages. Inspired by the notion of socially engaged contemporary Dutch architecture, the journal’s focus quickly expanded to include such topics as printmaking, non-Western artifacts, puppetry and stage design, and ancient building construction—a topical (and geographical) range very unique for its time.

Wendingen includes seven issues devoted solely to Frank Lloyd Wright (one of whose covers was designed by El Lissitzky), as well as issues on Josef Hoffmann, Erich Mendelsohn, Eileen Gray, Jan Toorop (two issues), Gustav Klimt, and Lyonel Feininger. The archive includes all issues published, dated 1916-1931. It also includes a collection of related material: the finished original drawing by Jesserun de Mesquita for one of the covers (vol. IX, no. 1, 1928), two original drawings for page layouts, and other ephemeral items.

2007-2008

Apollinaire : filmé en 1914, reproduction des 50 images en reconstruction de la petite machine animée : précédé d'un avertissement [1944 reproduction]
par André Rouveyre
Lanzac par Souillac (Lot) : Le Point, 1944
1 v. : chiefly ill. ; 11 x 17 cm
PQ2601 .P6 Z76 1944

Composed of photographs shot in quick succession, this flip book immortalizes an afternoon meeting between the poet-critic Guillaume Apollinaire and the writer-artist André Rouveyre. Apollinaire mingled with the visual artists of Dada and Surrealism in the early part of the century and was highly influential in their practice. The book was produced in a small shop in Paris set up solely for creating this amusement, one of several that existed in a handful of large European cities at the time. The scene itself, of two prominent intellectuals laughing at a technological curiosity, is both amusing in its capture of the playful frivolity of the Parisian Avant-Garde and poignant when juxtaposed with contemporary political realities. The book’s structure (represented in this 1944 reprint) is equally engaging; it serves as a key element in a growing collection of non-traditional-format books at the Art & Architecture Library.

Documents : doctrines, archéologie, beaux-arts, ethnographie
Paris : G. Bataille, 1929-1934
v. : ill. ; 27 cm
N2 .D6 V.1-2 ARTLCKS
Library has: v.1:no.1-7; v.2:no.1-8 (1929-1930)

Consistent with its sweepingly inclusive title, the journal Documents focused upon a host of cultural traditions, spanning the disciplines of poetry, sociology, photography, sculpture, music, archaeology, and painting. It was overseen by the writer-philosopher Georges Bataille, who became more and more its single guiding figure as the issues progressed. Primarily through the pages of this journal, Bataille forcefully challenged the tenets of Surrealism espoused by André Breton in favor of an alternate model, in which humanity could embrace the formless, the sordid, the discarded and disregarded. To this end, he featured articles and images whose subjects ranged from slaughterhouses to nonwestern tribal arts. Every issue also included a set of “dictionary” entries that treated disparate and often mundane objects and concepts with scientific precision. The Art & Architecture Library’s set of Documents is a complete run—all fifteen issues published. It is a fundamental resource in the study of Surrealist and inter-war art, literature, and philosophy.

L'Art décoratif et industriel de l'U.R.S.S.
Moscow : [S.n], 1925 (Fabrika "Goznak")
94 p., xxviii, [12] leaves of plates : ill. (some col.) ; 27 cm
NK976 .M6 A77 1925

Published to accompany L’Exposition Internationale des Arts Décoratifs held in Paris in 1925, this in-depth catalog includes examples of Soviet fine and applied arts across a range of disciplines, including ceramics, fashion, theater design, and architecture. Most prominent is the focus placed upon graphic design, evidenced by Aleksandr Rodchenko’s vibrant Constructivist cover design. The Exposition was a key opportunity for the Soviet Union to present its artistic and cultural achievements to the west; that Rodchenko’s work was chosen as a centerpiece suggests the important role bold, avant-garde design played in constructing the nation’s cultural image.

Salterio Chludov [2006 facsimile edition]
[Madrid] : Archivo Histórico de la Ciudad de Moscú : A.y N. Ediciones, 2006
[338] p. : col. ill., facsims. ; 21 cm
ND3357 .K48 S25 2006

The Chludov Psalter, created ca. 850, is a Byzantine illuminated manuscript that offers a rare glimpse not only of the generalities of ninth century theology, but also of the specifically momentous period that was iconoclasm (726-843). Its most famed marginal illustration depicts Christ’s crucifixion juxtaposed with the whitewashing of his image by an iconoclastic patriarch. Clearly assertive of representation’s importance within the practice of Christianity, the Psalter’s visual rhetoric was forceful enough to inspire vocal support from within the Church, not only contemporaneously but across several centuries. The Library’s 2006 facsimile edition, one of 995 copies, presents the Psalter (now held at Moscow State Historical Museum) in its original scale and coloring. It will play a significant role in the comprehensive study and teaching of Byzantine art at Stanford. Issued in leather binding and wooden box, with accompanying commentary volume.

The Red Book
[Bing Xu]
[S.l. : s.n.], 1999
1 object ; 11 x 10 x 1 cm
N7349 .X8 R4 1999

The Red Book is one component of the contemporary Chinese artist Xu Bing's Tobacco Project, a set of works which explores the historical impact of the importation of tobacco products from the U.S. beginning in the late 19th century, the continuing influence of Chairman Mao in contemporary China, and the manner in which media and commercialization influence the structure of life in China today. Using tins of Zhonghua brand cigarettes, Xu Bing ink stamped quotations from Chairman Mao on the sides of the cigarettes; each tin provides one complete quotation to viewers when it is opened. The Art & Architecture Library acquired two of these tins displaying two different quotations, so that viewers might gain an important sense of the books' serial quality and political scope.

This is Tomorrow
Whitechapel Art Gallery
London : Whitechapel Art Gallery, 1956
ca. 250 p. : ill. ; 17 cm
N6488 .G7 L692 1956

Most widely known for its inclusion of Richard Hamilton’s poster Just What Is It that Makes Today’s Homes So Different, So Appealing? (1956), the "This is Tomorrow" exhibition at the Whitechapel Art Gallery was a vibrant demonstration of artistic production in Postwar Britain. The Independent Group, an assembly of artists working in multiple media who in various ways incorporated mass media ideas and imagery into their practice, was the most visible set of participants; their work is considered by many to have been a precursor to Pop in both Britain and America. The catalog, printed with a silkscreened cover by Lund Humphries, includes an essay by the critic Lawrence Alloway. It is a rich compendium, at once thoroughly documentary of the exhibition and itself an object of impeccable design.

Your House is Mine
posters, Paul Castrucci ... [et al.] ; writers/illustrators, ACT-UP ... [et al.] ; organized & edited by Andrew Castrucci, Nadia Coën
New York : Bullet, c1989-c1991
1 v. (unpaged) : ill. (some col.) ; 60 cm
HD7287.96 .U62 N5 1989

This set of twenty-nine posters encased within lead-clad boards documents the actions of various activist groups in New York’s Lower East Side during the last two decades of the twentieth century. In the environs of the [in]famous Tomkins Square Park, artist-activists (including ACT-UP, Chris Burden, Andrew Castrucci, Allen Ginsberg, and David Wojnarowicz) for various causes (including AIDS care, public housing reform, and gay and lesbian rights) convened at the anarchist haven Bullet Space in order to print an edition of 300 posters. Half of the posters were posted in the neighborhood; the other half were compiled into the Your House is Mine volume. The set includes these posters as well as a newsprint publication that describes the project and its causes. As representative of radical, street-focused artistic sentiment in the 80s and 90s as it is of the leftist political fringe, this collection is a monumental addition to the Art & Architecture Library.

[One Month]
Seth Siegelaub
New York : The Author, [1969]
[33] leaves ; 22 cm
N7433.4 .S535 1969

Seth Siegelaub was one of the key figures in the development of Conceptual art in the late 1960s, curating shows that often contained no tangible objects (and, in turn, finding a niche in the commercial art market for these same non-objects). The catalog for the exhibition March 1969 (more frequently referred to as One Month) is a document of just such a show. Artists such as Douglas Huebler, Joseph Kosuth, Richard Long, and Lawrence Weiner were each given a page on which to create an artwork--an assignment which resulted in diagrams, tables, simple statements, and photographs. The resulting calendar was itself the show: a conceptual event composed of conceptual elements.

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