Coen nadia (2 risultati)

No Binding. Condizione: Very Good. 1st Edition. An exceptionally scarce and visually commanding artist's newspaper with a graphic vocabulary that channels Constructivism and experimental modernist typography. Jointly conceived by Nadia Coën, Andrew Castrucci, and Wm. Bruce Witsiepe and published under the EAU/Éditions Anti-Utopia imprint at 64 Union Street, Brooklyn on August 7, 1994. Three loose double-sided newsprint sheets, each approximately 30 × 23 inches unfolded, printed principally in yellow/ochre and folded into quarters. Twelve principal image fields in all. Edition of 100. Part of The Inclining Experiment Newspapers, a series of limited-edition works produced on commercial newspaper presses and distributed as public handouts, deliberately joining the everyday and disposable character of newsprint to conceptual and poetic experimentation. No. 2 is considerably more complex physically than its designation as a newspaper suggests. Its three large sheets are printed on both sides, each side divided into two principal image fields, producing twelve in all. Geometric abstraction, diagrams, typography, photographs, pictograms, and recognizable objects—including a monumental glass jug and wedge of cheese—extend across and respond to the folds. As the sheets are opened, closed, rotated, or partially unfolded, the fields fragment and recombine. The reader effectively edits the work through handling it, transforming a fixed set of printed images into a succession of changing poster-scale compositions. The publication itself explains this strategy, characterizing the newspaper as a "folded satellite" and "flying geometry." Central to its code is the recurring "little question box," a phrase Coën recalls her father applying to his children as they acquired language, and which she proposes as the probable cryptographic key to The Inclining Experiment. The question mark thus becomes an emblem for a work concerned with language, perception, geometry, uncertainty, and the instability of apparently fixed systems of meaning. The idea receives a particularly elegant resolution in the final field. Beneath a large question mark appears the coded colophon: "A. Castrucci / B. Witsiepe / C. oën," followed by 8.7.94, the EAU device, and 64 Union St., Brooklyn. The A-B-C sequence turns the collaborators' names themselves into part of the publication's graphic and linguistic game. The three artists belonged to the overlapping alternative-art and publishing networks of downtown Manhattan and Brooklyn. Coën developed an interdisciplinary practice encompassing architecture, installation, language, and printed matter and was a co-founder of Anti-Utopia. Castrucci, artist, printmaker, publisher, and activist, co-founded the Lower East Side artist-run space Bullet Space; he and Coën were central to the collaborative artist-book and street-poster project Your House Is Mine. Witsiepe (1951-1995), a Cooper Union-trained artist, writer, musician, and member of Circle X, worked across drawing, installation, publishing, music, and performance. Institutional documentation is unusually strong for so ephemeral a publication. NYPL's Artists' Books Collection holds No. 2 and identifies its colophon at "Number 2, page [12]." Direct examination of the NYPL example confirms the present format: three sheets measuring approximately 30 × 23 inches open. The NYPL copy was additionally folded for mailing and addressed; the present example retains only the intended quarter folds, allowing the large compositions to read with appreciably fewer intervening crease lines. MoMA's library records Nos. 1-6 of the series, lacking No. 3, and thus includes No. 2. Complete with all three sheets. Expected light toning and handling to the inherently fragile newsprint, with intended quarter folds; notably well preserved for its scale, material, and ephemeral distribution. A striking survival of what is simultaneously an artist's book, poster suite, conceptual print multiple, and participatory paper object.…

Hardcover. Condizione: Fine in Fine Rubber Wrapper. First Edition/Limited Edition. First Edition/Limited Edition. Hardcover. "This project is a collection of images and texts, defining and expressing the broad and essential issue of housing on the Lower East Side, and is a statement of the underlying force of 'art as a means of resistance'. It is both a documentation and expression of social/political issues in our neighborhood, and on a larger scale to symbolize similar conflicts in other parts of the world." [Bulletspace] Printed at Bullet Space (an anarchist squatter community since 1982), The Lower East Side Workshop, Black Cat Printshop, Cooper Union, and the Brandywine Workshop. Funded by Art Matters, Artist Space, Northstar Fund, Andy Warhol Foundation. The work includes 32 silkscreened posters [on Mohawk vellum paper], all signed by the artists: Paul Castrucci; John Fekner; Stash Two; Tom McGliynn & Emily Carter; Day Gleeson & Dennis Tomas; Nadia Coen; Anton Von Dalen; Juan Sanchez; Martin Wong; Miguel Pinero & Andrew Castrucci; Betzaida Concepcion; Seth Tobocman; Sabrina Jones; Red Rodriquez; Marguerite Van Cooke & James Romberger; Neighborhood News; David Wojnarowicz; Lee Quinones & Eduardo Galleano; Lady Pink; Sebastian Schroeder; Missing Foundation; Salter Sipser; Bruce Witsiepe; Will Sales; Vincent Galgliostro & Avram Finkelstein; Eric Drooker. "This project is a collection of images and texts concerning the broad and essential issue of housing on the Lower East Side [of Manhattan]." It presents a series of posters created to bring attention to New York City's campaign of condemning entire blocks of decent low-income housing in order to demolish them and build more taxable high-rise housing. It is a document of an impressive and provocative public art project featuring some of the most well-known artists of this activist art movement centering on housing, economics, healthcare, gay and lesbian and other civil rights.and of the American art world of the time. Many of the artists have become well-known in recent years, with their works represented in collections at the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of the City of New York, El Museo del Barrio, the Brooklyn Museum, etc. Several artist included have emerged as major figures in the Graffiti Art Movement. Several are now faculty at prestigious colleges. Each of the posters was printed in an edition of approximately 300, half formed the core of this book series, the rest were posted in the neighborhood. These posters catalyzed and sometimes escalated the intensity of the dialog around the ongoing issues of gentrification, conservation, urban development and social justice that is the bedrock of the Lower East Side experience. Beyond that, culturally the posters embody a 20th Century movement where artists combined innovative materials, design and aesthetics with radical and populist politics that had a great impact on the art world of New York and beyond. The unusual, heavy, lead-covered binding was designed to convey the feeling of oppression. The significance of the work.and a reason for its increasingly scarcity.can be seen in an overview of institutions who now hold a copies: Brooklyn Museum, NY; Cooper-Hewitt, NY; Fogg Museum at Harvard University, MA; Getty Institute, Los Angeles, CA; Gutenberg Bibliotek, Germany; Herzon Museum, Germany; Mainz Bibliotek, Germany; MoMA, NY; Museo del Commune di Milan, Italy; Offenback Bibliotek, Germany; Pesci Museum, Italy; Smith College, MA; Spencer Collection at Yale University, CT; Staadt Museum, Germany, Stielich Bibliotek, Germany; University of Kansas, KS; Kohler Art Library at University of Wisconsin, WI; Victoria and Albert Museum, UK; Wellesley College, MA; the Whitney Museum of American Art, NY." [Bulletspace] The final line of the forward to Your House is Mine reads, "We have taken this opportunity to unite the following people in this collaborative project, as a statement of 'art as a means of resistance.'" It is a remarkable statement. Very minor shelf/edge wear to spine, else tight, bright and unmarred. Black rubber sheet wrapper, numbered in white ink with the limitation. Wooden boards, rubber hinges, bolted spine, boards/spine covered in lead, painted lettering on boards. fo. np. Illus. (color and b/w plates). Limited numbered edition, this being ___ of 150. All posters signed by the artist.…