Exhibition poster published in conjunction with the 1970 show by Keith Sonnier, Richard Landry, and Tina Girouard at Castelli Warehouse, New York. The poster features a black-and-white photograph by Landry of three performers interacting with Sonnier’s sculptures within the exhibition space. Castelli Warehouse, an industrial loft on Manhattan’s west side established by renowned art dealer Leo Castelli, played a pivotal role in the emergence of alternative art spaces and the promotion of avant-garde art in New York City. Regarded as one of the first "alternative" art venues in the.....
Item #1881

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Exhibition poster published in conjunction with William Anastasi’s solo show featuring his sculptural work at the Dwan Gallery, New York, in 1970. The poster features an image of Anastasi posed behind one of his Conic Section sculptures—a monumental work composed of steel rods used in construction, with one rod lying flat on the floor while the others lean against each other, gradually progressing from horizontal to vertical. The third exhibition in a series of four solo shows held by Anastasi at Dwan Gallery between 1966 and 1970. William.....
Item #1840

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The original oversized matchbooks issued in 1977 by Parasol Press to promote their famed Rubber Stamp Print series, which was issued in numbered editions of 1,000, distributed by MoMA New York, and featured artists Agnes Martin, Sol LeWitt, Wayne Thiebaud and others. At over 3" x 4" they are approximately 4 times the size of a standard matchbook (see photos for scale).

Condition: Fine/Like New.
Item #1742

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Steven Leiber's bookseller's poster/catalog No. 51, released for the 2010 NY Art Book Fair, mimicking the design for Experiments in Art & Technology's "9 Evenings: Theatre & Engineering" from 1966. Leiber, a Bay Area dealer who championed artists' ephemera, produced famous catalogs that smartly payed homage via appropriation to moments, works or artists in contemporary art history such as Ruscha, Fluxus, Dada, conceptual art and other genres. The back side of the poster lists and documents 105 offerings for the fair (with prices) including works and artists' books/ephemera by Twombly.....
Item #1312

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A set of four items of ephemera related to Ken Friedman's visit to Portland, Oregon in September of 1978. 1. A poster promoting three events: Sept. 22 at Northwest Artists Workshop (Critical Issues in Contemporary Art), Sept. 25 at The Earth Tavern (The Sociology of Art), and Sept. 26 at the Portland Art Museum (Fluxus, Intermedia and Concept Art). 2. The poster/flyer for Friedman's appearance at the Earth Tavern on Sept. 25. 3. A press release/flyer from the Portland Art Museum announcing Friedman's Sept. 26 discussion at the Museum. 4.....
Item #1067

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The folded flyer/catalog for Craig Kauffman's exhibitions held at the Pasadena Art Museum in January-March 1970, which also traveled to the University of California Irvine in March-April, 1970. Kauffman was part of the original stable of artists at LA's legendary Ferus Gallery. The flyer features five panels printed on both sides, with a text by Kauffman, an exhibition checklist, and 6 color reproductions of the sprayed acrylic laquer on vaccum-formed plexiglas works (dated between 1965-1969) that he was known for. Unfolds to 37.5"

Condition: Very Good, some toning at edges.....
Item #1057

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The announcement postcard for Andre's exhibition "Four Meditations on the Year 1960" at the Konrad Fischer Gallery in Düsseldorf from July 12-August 12, 1971 (the front of the card states June 1971). The card states exhibit included 20 timbers sized 30cm x 30cm x 150cm each and presumably arranged in the configurations drawn on the front of the card. Addressed to the painter Neill Jenney in New York.

Condition: Fair, soiling, toning and creases to card; 5 pinholes to card at sides and one corner.
Item #1016

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An oversize exhibition postcard/flyer on heavy cardstock for the second exhibition (November, 1968) at the Paula Cooper Gallery (also claiming to be the first gallery in SoHo). The exhibition featured work by Diao, Di Suvero, Forakis, Ginnever, Huot, Kirschenbaum, Melcher, Myers, Quaytman, Ruda, Shields and Valledor.

Condition: Near Fine, very slight bump to top left corner visible only on the back side of card.
Item #614

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If there was a feminist history of the LA gallery scene in the '60s it would certaintly include Eugenia Butler. In 1968, she opened Gallery 669 at 669 N. La Cienega Blvd., a gallery with a short-lived but powerful impact. It was there that Joseph Kosuth had his first U.S. solo exhibition in 1968. After Gallery 669, Butler opened her own gallery down the street at 615 N. La Cienega Blvd. At the Eugenia Butler Gallery, Butler choose not to show the artists of the Ferus scene but instead tended.....
Item #503

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A poster as artwork, or a conceptual piece by George Miller documenting his experience around the Weather Underground bomb explosion at 18 West 11th in New York on March 6, 1970. The poster reads "George Miller, 18 West 11th Street, March 15-May 15, 1970, New York City" and includes a photograph of the destroyed townhouse at that address, which was exploded when a bomb being constructed in the basement by members of the Weather Underground detonated. Three members of the Underground died in the blast. Miller was in New York.....
Item #149

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An Intermedia project survey textually attributed to David Orcutt, the Project Coordinator in 1968. An early document created during the formation of conceptual art in Western Canada, evidencing the Intermedia Society’s considerations of technology, collaboration, medium, education, film, happenings, dance and more. This document reads a bit like a manifesto envisioning permutations of the direction and reception of art and Intermedia’s future approaches to medium, exhibition and its audience.

Condition: Very Good, slight toning to edges of paper, slight fading to mimeograph printing and transfer to blank pages.
Item #71

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Harold Gregor, the Chairman of the Art Department at Chapman College at the time, produced this exhibition as an antagonistic response to the Primary Structures exhibit at the Jewish Museum in New York (1966), and to Carl Andre’s Lever in particular. Everyman’s Infinite Art has been called both a “satirical misreading of minimalism” and as “paralleling the emerging practices of New York conceptual artists,” predating Lawrence Weiner’s Statements by two years and Robert Barry’s Closed Gallery by three years. Everyman’s Infinite Art was recreated in 2011 for the Getty’s series.....
Item #10

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