jochims reimer wolf wezel (3 risultati)

Soft cover. Condizione: Good. 1st Edition. 4° (300x210) - B/w reproductions and 2 original serigraphs by Raimund Girke and Antonio Calderara both signed and numbered. Conceptual Art - This exhibition is presented by the following galleries: Annemarie Verna, Zurich - Galerie Aurora, Geneva - Boni & Schubert, Lugano - Toni Gerber, Bern - Numaga, Auvernier: Antonio Calderara (1903-1978) Italian painter - Raimund Girke (1930-2002) German artist - Reimer Jochims (1935) German artist - Heinz Gappmayr (1925-2010) Austrian artist - Wolf Wezel (1935) German artist - Enore Zaffiri (1928-2020) Italian artist. Published in 250 copies. Priginal boards. In Good condition. Signed by Illustrator(s).

pp. (12); 23 loose sheets + 12-page booklet. Complete set of ?UNd? magazine, edited by Reimer Jochims and Wolf Wezel. The stapled first issue is entirely dedicated to the chromatic paintings of Jochims, published under the subtitle ?Konzeption? The second issue, also published in 1966, is composed of loose sheets, and concentrates purely on the concrete poetry of such luminaries as Eugen Gomringer, Heinz Gappmayr, Friedrich Achleitner, Gerhard Rühm, Kurt Schwitters, Hans Arp, and Josef Albers. Each issue was published in an edition of 200 copies. In this set, the second issue is in the deluxe. It is one of 11 hand-numbered copies, signed on the inside front cover by Eugen Gomringer, Heinz Gappmayr and Wolf Wezel, and with an original work by each of the three signatories. Gomringer?s contribution is an original handwritten work, in ink on both sides of a piece of lined note paper. Gappmayr has produced an original single-word typewriter piece, whilst Wezel has produced a typed collage. A standard copy of issue no.2 is also present. [Ref. Sammlung Rolf Dittmar. Die Sechziger Jahre, no. 1209]. Two volumes. First issue in stapled wrappers, second issue consists of loose sheets and 12-page booklet loose in card folder.

Munich: Omega Press, 1966. Folios (ca. 29.7 × 21.2 cm). Original pictorial staple-stitched self-wrappers and original printed, blind-stamped folder; [16] pp.; 23 unbound leaves and [12] thread-stitched pp. with reproductions of artworks. Wrappers and folder somewhat dust-stained; a few leaves with tiny, barely perceptible creases at the corners; else very good. One of 189 numbered copies signed by the publisher in the printer's note; besides this, 11 copies were published in a deluxe edition. Reimer Jochims, who was not only in charge as editor, but whose work is also the subject of the first issue, initially studied art history and archaeology. He wrote his doctoral thesis on the art theory of Konrad Fiedler. Fiedler's theory of "pure visibility", which later authors contrasted with "recognizable seeing", is likely to have had a formative influence on Jochim's own painterly practice and his exploration of "concrete poetry". Instead of the mediality of canvas and paint as well as paper and typography, these were to become perceptible for themselves, in their concretion. From the mid-1950s, Jochims devoted himself to painting as a self-taught artist and in 1971 was awarded a chair in both free painting and art theory at the Städelschule in Frankfurt am Main. The second issue impressively documents the fact that Jochims was already well connected. In the first issue, Jochims presented his gradient paintings, which consist of up to thirty glazed layers of paint and reveal a gradient of color contours between warm and cold or light and dark. (Cf. Germaid Ruck, AKL LXXVIII, 2013, p. 111). Fondazione Bonotto PVC10030. As of June 2025, KVK, OCLC show three copies in North America.