With an introduction by Clive Baker and numerous texts by HR Giger as well as texts by Fritz Billeter and Simon Vinkenoog and a tribute from Salvador Dali.
“The “Necronomicon” is a legendary magical book that is kept in inaccessible places only in a few, incompletely preserved specimens because it could have disastrous consequences if it fell into the wrong hands. It was written down around 730 AD in Yemen by the legendary Abdul Al Azred. It is said to tell of things and events that took place in the gray age, and illustrations of uncanny creatures lurking in the depths of the earth and the seas, one day destroying mankind and striking the world.
Al Azred’s “Necronomicon” is a kind of museum of the most wonderful abominations and perversions. The well-known writer HP Lovecraft was the first to report in his “Cthulhu” mythology of this work. Many other science fiction and fantasy writers have quoted this fictional work time and again, but it has only become a visual reality in “HR Giger’s Necronomicon”!”
“Giger always opens up new approaches to the origins of our psyche,” writes Clive Baker in his foreword. “He is planning for us to go, encouraged by the knowledge that others have gone before this path, and only a few artists are able to give such impulses, and if we follow Giger, we are initially afraid of our mental health. And quickly recognize that the supposed new territory has countless stations that are connected with our familiar life. For, after all, we are no strangers: Giger points the direction into the world in which we must return, where we pledge our pledge, to pay the tithes which we owe. Giger’s world is the place of our own taboos, and only our own disregard makes him appear frightening, sullen, “alien” (alien). (…) Giger’s work calls us to the common ground of the unconscious, where, though we sometimes alienate ourselves from it, we are never really strangers. In other words, HR Giger’s fantastic art is calling us home.”
Beginning with a hommage from Salvador Dali, the first in this series of oversized and visually overwhelming volumes takes us through the early history of one of the most brilliant fantasy artists of the century. From his “Passegen” series, his work for theatre, posters, album artwork, environments, personal works, is designs for Alejandro Jodorowsky’s DUNE, and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world’s most unique and influential visionaries.
This is the first Swiss edition, published by Edition C.
* Condition: Very Good (light wear to page edges / spine) – All care is taken to provide accurate condition details of used books, photos available on request.
- H.R. Giger's Necronomicon (1984)
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“Z” is a great, unsuspecting pocketbook from Galerie Rudolph Zwirner in 1970, collecting together a wonderful group of works by 78 artists (Yves Klein, Richard Tuttle, Donald Judd, Cy Twombly, René Magritte, Laszlo Moholy-Nagy, Kenneth Noland, Daniel Spoerri, Frank Stella, Jean Tinguely, Roy Lichtenstein, Richard Linder, Jasper Johns, Martial Raysse, Dieter Rot, Franz Erhart Walther, Bruno Goller, Morris Louis, Jim Dine, Otto Dix, Jean Dubuffet, Max Ernst, Salvador Dali, Konrad Klapheck, Lucio Fontana, Blinky Palermo, Hundertwasser, Gerhard Richter, Antoni Tapies, Andy Warhol, George Grosz, Robert Graham, Allen Jones, Henri Michaux, Claes Oldenberg, Robert Rauschenberg, Oskar Schlemmer, Yves Tanguy, Louis Soutter, Tom Wesselmann, Toyen, Wols, Larry Bell, Dan Flavin, Panamarenko, Sol Lewitt, etc.) across painting, sculpture, drawings, collage and multiples, all reproduced in black and white across this almost entirely visual volume.
* Condition: Very good (light wear only) – All care is taken to provide accurate condition details of used books, photos available on request.
- Z (1970)
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Displaying the Marvelous
Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations
Surrealism in its late phase often abandoned neutral exhibition spaces in favor of environments that embodied subjective ideologies. These exhibitions offered startled viewers an early version of installation art before the form existed as such. In Displaying the Marvelous, Lewis Kachur explores this development by analyzing three elaborate Surrealist installations created between 1938 and 1942. The first two, the “Exposition Internationale du Surrealisme” (1938) and the “Dream of Venus” at the New York World’s Fair (1939), dealt with the fetishization of the female body. The third, “First Papers of Surrealism” (1942), focused not on the figure but on the entire expanse of the exhibition space, thus contributing to the development of nonfigurative art in New York. Kachur presents a full visual and verbal reconstruction of each of the exhibitions, evoking the sequence that the contemporary viewer would have encountered.
The book considers Marcel Duchamp and Salvador Dali, two artists who are not usually compared, within a common framework. Duchamp specialized in frustrating the spectator, using his ironic wit to call into question the definition of the work of art. Dali was a master at disorienting the senses by establishing and then undermining everyday spatial and object properties. The Surrealist challenge, as voiced by Andre Breton, was to evoke the marvelous. Duchamp and Dali extended that challenge to the physical and commercial realm of the exhibition installation.
About the Author
Lewis Kachur is Associate Professor of Art History at Kean University, New Jersey.
“Lewis Kachur hands us a free time-travel ticket, with himself as marvelous pilot. Transporting us into the thick inventions of late Surrealist exhibitions, he gives us the ravishing gift of being there, present at the birthing and, as well, the seeding of so much installation and site-specific art to come decades later. For artists now who feel tied to Grandfather Marcel without having known him, Kachur’s work vividly opens up the real moves of Duchamp’s reinvention of what it is to be an artist. Revealing secret interior paths of communication among artists that flow synaptically across generations, this sumptuous work points to a new holistic way to understand art.”
—Mierle Laderman Ukeles, artist
“A splendid analysis of the late Surrealist exhibitions. Anyone interested in Surrealist art would want this book; anyone interested in the consideration of display in twentieth-century art must have this book.”
—Richard Martin (1945-1999), former curator, Metropolitan Museum of Art
“Perceptive, fascinating, and written with pleasure and delight. The reciprocal exchange between art work and its context is presented with a steady, at times inspired, sense of inquiry.”
—Brian O’Doherty, writer
- Displaying the Marvelous
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Styles of Living
The Best of Casa Vogue
Making appearances in these rooms: Gae Aulenti, Man Ray, Enzo Mari, Carlo Scarpa, Pablo Picasso, Josef Hoffman, Cinzia Ruggeri, Max Ernst, Wols, Matteo Thun, Ettore Sottsass, Le Corbusier, Salvador Dali, René Magritte, Lucio Fontana, Eileen Grey, Daniel Buren, Gaetano Pesce, Charles Eames, Verner Panton, Massimo Vignelli, Andy Warhol, Frank Lloyd Wright, Antoni Tàpies, Michelangelo Pistoletto, Alver Aalto…..
“Ever since the end of the Second World War, Italian style, design and decoration have maintained an unprecedented predominance in the Western World. It was in the early 1950s that a great surge of decorative talent welled up in Italy, and this resulted in the ‘Italian look’ in clothes and in homes – a new standard of chic inventiveness.
The Italian view of interior design has been most enterprisingly expressed in the magazine Casa Vogue, which was founded in 1968 and has consistently been one of the most admired publications of Condé Nast International.
This book, garnered from the many issues of Casa Vogue, has been written and produced under the guidance of Isa Vercellonim who has been its editor ever since its inception. The choice of picture-stories is intended to reflect the unusual and distinctive diversity of the magazine – ranging from traditional decoration to the more advance examples of minimal design, most the most significant of contemporary buildings to the spectacular reconstructions and reconversions of old palazzi and coachhouses, from the ‘post modern’ to the ‘anti-modern’ and any other ‘moderns’ that may have been advocated recently. Italian trends naturally provide the main focus, but Casa Vogue also includes developments in the United States, France, Switzerland – indeed, wherever unusual and meaningful designs are being created.”
* Condition: Good-Very Good (light wear/tanning to original dust-jacket and binding, otherwise clean and tight throughout, protected in mylar wrap) – All care is taken to provide accurate condition details of used books, photos available on request.
- Styles of Living
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