section de wilson ian (10 resultados)

Soft cover. Condición: Very Good. Edition of 500. 8.5 x 5.5 inches. [16] recto printed leaves. Printed stiff wrappers. Front and rear wrap corners creased, crown of spine lightly bumped. Very Good.

Softcover. Condición: Good. Limited to 500. [66 p.]. 22 cm. White paperback. Faint dampstain to lower spine, bottom edge, and bottom margins. Repeated on each leaf: "The known is unknown and unknown and known. That it is unknown is unknown and known and unknown.".

Soft cover. Condición: Near Fine. 21,8×13,8 cm. Softcover. Unpaginated. Artist's book featuring variations on a single sentence. Limited edition of 500 copies. Uncommon. // Fresh and unread copy.

Softcover. Condición: Gut bis sehr gut. 1. Auflage. B : 21.3 x 14 cm, 68 pages, limited edition of 500 Ex. - The known is unknown and unknown and known. That it is unknown is unknown and known and unknown. Thus begins a series of sentences that fill the pages - one per page with slight alterations - of this book.

Brossura. Condición: ottimo. prima edizione. WILSON Ian (Durban, South Africa 1940 - 2020) Paris, Ghislain Mollet-Vieville, [Les Imprimeurs Libres], 1985, 21,5x14 cm, paperback, pp. [158], artist s book with typographic cover containing 65 statements by the artist. Edition of 500 copies.

Brossura. Condición: ottimo. prima edizione. WILSON Ian (Durban, South Africa 1940 - 2020) New York, Ian Wilson, [Lecturis bv, Eindhoven], 1984, 21,5x14 cm, paperback, pp. [68], artist's book with typographic cover containing 64 statements by the artist. Published on the occasion of the exhibition held at Art Metropole in Toronto in 1984. Edition of 500 copies.

[77] leaves. 8vo, printed softcover, title on spine. New York: The Greenwich Collection Ltd., 1990. Very rare Ian Wilson (1940-2020) artist's book; WorldCat locates a single copy in North America. Section 55: "Absolute Knowledge." In fine condition, edition of 500. ? Chantal Kleinmeulman, Ian Wilson: The Discussions (2008), p. 173.

[16] leaves, printed on rectos only. 8vo, printed white softcover, title on spine. New York: Self-published; Bern: Kunsthalle Bern, 1984. Uncommon artist's book by Conceptual artist Ian Wilson (1940-2020); from an edition of 500 copies. "Wilson has also produced a number of artist books, each simply titled Section followed by a number. The word 'section' reminds me of how nations organize their constitutions according to 'acts' and 'sections.' [] Linguistically, a section also always implies a pre-existing whole. A section can only be derived from a whole. Chapters have a different connotation in that they are like building blocks toward a whole. After all, a chapter can be incomplete while a section is always complete to the extent that it is a section. As such, naming his artist's books Section followed by a number is homologically related to Buddhist or Hindu sutras, collections of canonical texts that were then assembled into a book of teachings."Ken Lum, "Ian Wilson: From Chalk Circle to Full Circle" in Everything is Relevant, Writings on Art and Life, 1991-2018 (2020), p. 241. Section 31, Set 22: "Known and / unknown as / known and / unknown that / which is / known and / unknown is / not known / and unknownKnown and / unknown as / known and / unknown that / which is / not known / and unknown / is known and unknown" In fine condition. ? Ian Wilson: The Discussions (2008), p. 173.

[34] leaves. 8vo, printed white softcover, title on spine, perfect-bound. New York: Self-published; Toronto: Art Metropole/David Bellman, 1984. Artist's book by Conceptual artist Ian Wilson (1940-2020), now scarce; printed in an edition of 500 copies. "Wilson has also produced a number of artist books, each simply titled Section followed by a number. The word 'section' reminds me of how nations organize their constitutions according to 'acts' and 'sections.' [] Linguistically, a section also always implies a pre-existing whole. A section can only be derived from a whole. Chapters have a different connotation in that they are like building blocks toward a whole. After all, a chapter can be incomplete while a section is always complete to the extent that it is a section. As such, naming his artist's books Section followed by a number is homologically related to Buddhist or Hindu sutras, collections of canonical texts that were then assembled into a book of teachings."Ken Lum, "Ian Wilson: From Chalk Circle to Full Circle" in Everything is Relevant, Writings on Art and Life, 1991-2018 (2020), p. 241. Section 34, 2nd Set, 1983: "The known is unknown and unknown and known. That it is unknown is unknown and known and unknownThe unknown is unknown and known and unknown. That it is unknown is unknown and known and unknown" Fine copy. Among American institutions, WorldCat shows holdings of this book at: Museum of Modern Art (NY), Getty, UC-Santa Barbara, Southington Public Library (CT), and U. Wisconsin-Eau Claire. ? Ian Wilson: The Discussions (2008), p. 173. A. Moeglin-Delcroix, Esthétique du Livre d'artiste: Introduction à l'art contemporain (2nd ed.: 2012), pp. 174 (pictured).

[56] pp., printed on rectos only. 8vo, printed semi-stiff wrappers, title on spine. Eindhoven: Stedelijk van Abbemuseum, 1982. Ian Wilson's first artist's book, produced in an edition of 500 copies. Known primarily for his discussion-based work, beginning in the 1980s Wilson (1940-2020) undertook a lengthy series of artist's books under the title Section(s). This was the first, published with the Stedelijk van Abbemuseum in 1982. He collaborated on later publications with a number of galleries, institutions, and private collectors, such as Giuseppe Panza di Biumo, Art Metropole/David Bellman, Victoria Miro, Kunsthalle Bern, Ghislain Mollet-Viéville, Maeght Lelong Gallery, Ryman, Michel Claura, etc. Each was printed in an edition of 500 copies. A fine copy of a rare artist's book; a trifle sunned. ? Ian Wilson: The Discussions (2008), p. 173. "As the quintessential vehicle for communication and thought, language replaces traditional representation in Ian Wilson's workWilson has rigorously shunned the creation of any form of physical object and has sought to resist all forms of objectification. Since 1968 he has operated principally through the channels of speech, turning only in the 1980s to also include the production of sets of books based on the repetition of a single abstract verbal construct such as 'unknowable,' 'absolute knowledge,' or 'perfect.'"Anne Rorimer, New Art in the 60s and 70s: Redefining Reality (2001), pp. 89-90.