Allan Kaprow “Posters”

Christophe Daviet-Thery has the pleasure to present his following edition

Allan Kaprow. Posters, 2014

27,7 x 43 cm – 91 pages – sofcover

Text by Steve Roden & Oscar Tuazon

Price: 36 euros

Allan Kaprow (1927–2006) is considered to be the founding father of the Happening, of Environments and Activities: terms that he continued to redefine throughout his career.

With a wide selection of images, this publication, designed by Coline Sunier and Charles Mazé, documents Kaprow’s posters, a lesser-known side of his work, produced between 1953 for his first show at the Hansa Gallery, New York and 1996 at Kunsthalle Palazzo, Liestal.

Most of these posters were designed by Allan Kaprow and are characterized by their aesthetic quality, the earliest ones in particular a combination of hand-lettered text and drawings and the later ones of photographs and typographic text in a minimalist style.

More than merely advertising Happenings or Activities, these posters act as scores/tools for the participants to the Happenings and as everyday objects that blur the boundaries between art and life.

Allan Kaprow (1927–2006) was an American artist who is perhaps best known for his work 18 Happenings in 6 Parts that took place at the Reuben Gallery in New York in 1959. In 1958 he wrote an essay, “The Legacy of Jackson Pollock,” that became an essential text for understanding the development of his work and indeed the entire Sixties performance art scene: “Pollock, as I see him, left us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-second Street. Not satisfied with the suggestion through paint of our other senses, we shall utilize the specific substances of sight, sound, movements, people, odors, touch.”

 

Daniel Gustav Cramer 01.72

01.72  Christophe Daviet-Thery,Daniel Gustav Cramer, SALTS Basel, Samuel Leuenberger, 2014.

This two part publication has been released in March 2014 on the occasion of the exhibitions “O1-72” by Daniel Gustav Cramer at SALTS, Basel.

It consists of an artist’s book, giving more insight into the project and a reader with texts from Quinn Latimer, Kirsty Bell and an interview with the artist.

29,5 x 21 cm – 14 pages

Price: 18 euros

Bibliothèque d’un amateur-Richard Prince’s publications 1981-2014

Bibliothèque d’un amateur. Richard Prince’s publications 1981-2014

 © Rebecca Fanuele

Published by &: Christophe Daviet-Thery & Viaindustriae

Catalogue of the eponym’s exhibition at Palazzo Collicola Arti Visive, Spoleto, 23 June – 26 Auguste 2012 ans at &: Christophe Daviet-Thery, Paris, 26 October – 20 December 2012

Essays: ” Do Androids dream about Kindles” by Vincent Pecoil, “American/English” by Yann Sérandour

Bibliographical notes: Francine Delaigle

Design: Jérôme Saint-Loubert Bié

This book is not a catalogue raisonné, it instead takes a look at the library of an amateur, an excuse to apprehend this aspect of Richard Prince’s work which encompasses books and the question of the collection and its incompleteness, revealed here by the ” ghost” of the missing books.

Richard Prince is an avid collector of books, an obsessive one. This fervor is visible in The Good Life of American/ English, where he photographs covers of books from his collection, reducing the book to an image, a simple surface.

1 volume – 208 pages- illust in colour -16 x 11,5 cm

Edition of 1000 copies.

Price: 25 euros

PLEASE CONTACT US FORE MORE INFORMATION.

Matthew Brannon

Hors d’oeuvres, 2014 

Scrennprints by Sarah Shebaro, Brooklyn Binding by Clara Gevaert, Brussels.

55,9 x 50,9 cm – 8 pages.

Edition of 25 copies numbered and signed by the artist + 7 A.P + 4 H.C

Published by christophe daviet-thery, Paris.

Price upon request.

Matthew Brannon’s images are purposefully seductive and immediately identifiable to the point of assimilating themselves to archetypes.

Indeed, what better way to represent a platter of crayfish, an ice-bowl or an Oscar ? Matthew Brannon ‘s aesthetic is influenced by the graphic

arts, the advertising world; an aesthetic infused by the outdated elegance of the 1950’s. His images work like ” visual signs” that condition our very reading of them.

Yet, beyond these surface images a darker world is hidden away, revealed here by a letter from a producer to an author, creating a tension between what is to

be seenand what is to be read.

I there a better parable of our contemporary society than Hollywood, which Matthew Brannon invites us to observe through a keyhole ?

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Les images de Matthew Brannon sont volontairement séduisantes et immédiatement identifiables jusqu’à  s’assimiler à des archétypes. En effet, quelle autre représentation d’un plat de langoustes, d’une coupe à glace ou encore d’un Oscar pourrait-on avoir ?

Matthew Brannon emprunte son esthétique aux arts graphiques, à l’univers publicitaire; esthétique teintée de lélégance surannée des années 50.

Et pourtant derrière ces images de surface, se cache un univers plus obscur, ici dévoilé sous la forme d’une lettre d’un producteur à un auteur, créant une tension entre ce qui est donné à voir et ce qui est à lire.

Quelle meilleure parabole de la société contemporaine qu’Hollywood que Matthew Brannon nous invite ici à observer à travers un trou de serrure ?

   © Matthew Brannon /Crédit photographique Rebecca Fanuele

 

Please contact us for more information.