Apollinaire : filmé en 1914, reproduction des 50 images en reconstruction de la petite machine animée : précédé d'un avertissement / par André Rouveyre.
Lanzac par Souillac (Lot) : Le Point, 1944.
Art & Architecture Library (Bowes) » Locked stacks (Small): Ask at circulation desk » PQ2601 .P6 Z76 1944
Composed of photographs shot in quick succession, this flip book immortalizes an afternoon meeting between the poet-critic Guillaume Apollinaire and the writer-artist André Rouveyre. Apollinaire mingled with the visual artists of Dada and Surrealism in the early part of the century and was highly influential in their practice. The book was produced in a small shop in Paris set up solely for creating this amusement, one of several that existed in a handful of large European cities at the time. The scene itself, of two prominent intellectuals laughing at a technological curiosity, is both amusing in its capture of the playful frivolity of the Parisian Avant-Garde and poignant when juxtaposed with contemporary political realities. The book’s structure (represented in this 1944 reprint) is equally engaging; it serves as a key element in a growing collection of non-traditional-format books at the Art & Architecture Library.
Paris : G. Bataille, 1929-1934.
Art & Architecture Library (Bowes) » Locked stacks (Small): Ask at circulation desk » N2 .D6 V.2
Consistent with its sweepingly inclusive title, the journal Documents focused upon a host of cultural traditions, spanning the disciplines of poetry, sociology, photography, sculpture, music, archaeology, and painting. It was overseen by the writer-philosopher Georges Bataille, who became more and more its single guiding figure as the issues progressed. Primarily through the pages of this journal, Bataille forcefully challenged the tenets of Surrealism espoused by André Breton in favor of an alternate model, in which humanity could embrace the formless, the sordid, the discarded and disregarded. To this end, he featured articles and images whose subjects ranged from slaughterhouses to nonwestern tribal arts. Every issue also included a set of “dictionary” entries that treated disparate and often mundane objects and concepts with scientific precision. The Art & Architecture Library’s set of Documents is a complete run—all fifteen issues published. It is a fundamental resource in the study of Surrealist and inter-war art, literature, and philosophy.
Moscow : [S.n], 1925
Art & Architecture Library (Bowes) » Locked stacks (Small): Ask at circulation desk » NK976 .M6 A77 1925
Published to accompany L’Exposition Internationale des Arts Décoratifs held in Paris in 1925, this in-depth catalog includes examples of Soviet fine and applied arts across a range of disciplines, including ceramics, fashion, theater design, and architecture. Most prominent is the focus placed upon graphic design, evidenced by Aleksandr Rodchenko’s vibrant Constructivist cover design. The Exposition was a key opportunity for the Soviet Union to present its artistic and cultural achievements to the west; that Rodchenko’s work was chosen as a centerpiece suggests the important role bold, avant-garde design played in constructing the nation’s cultural image.
[Madrid] : Archivo Histórico de la Ciudad de Moscú : A.y N. Ediciones, 2006.
Art & Architecture Library (Bowes) » Locked stacks (Medium): Ask at circulation desk » ND3357 .K48 S25 2006
The Chludov Psalter, created ca. 850, is a Byzantine illuminated manuscript that offers a rare glimpse not only of the generalities of ninth century theology, but also of the specifically momentous period that was iconoclasm (726-843). Its most famed marginal illustration depicts Christ’s crucifixion juxtaposed with the whitewashing of his image by an iconoclastic patriarch. Clearly assertive of representation’s importance within the practice of Christianity, the Psalter’s visual rhetoric was forceful enough to inspire vocal support from within the Church, not only contemporaneously but across several centuries. The Library’s 2006 facsimile edition, one of 995 copies, presents the Psalter (now held at Moscow State Historical Museum) in its original scale and coloring. It will play a significant role in the comprehensive study and teaching of Byzantine art at Stanford. Issued in leather binding and wooden box, with accompanying commentary volume.
[S.l. : s.n.], 1999
Art & Architecture Library (Bowes) » Locked stacks (Small): Ask at circulation desk. (Permission required from Art Librarian.) » N7349 .X8 R4 1999
The Red Book is one component of the contemporary Chinese artist Xu Bing's Tobacco Project, a set of works which explores the historical impact of the importation of tobacco products from the U.S. beginning in the late 19th century, the continuing influence of Chairman Mao in contemporary China, and the manner in which media and commercialization influence the structure of life in China today. Using tins of Zhonghua brand cigarettes, Xu Bing ink stamped quotations from Chairman Mao on the sides of the cigarettes; each tin provides one complete quotation to viewers when it is opened. The Art & Architecture Library acquired two of these tins displaying two different quotations, so that viewers might gain an important sense of the books' serial quality and political scope.
London : Whitechapel Art Gallery, 
Art & Architecture Library (Bowes) » Locked stacks (Small): Ask at circulation desk » N6488 .G7 L692 1956
Most widely known for its inclusion of Richard Hamilton’s poster Just What Is It that Makes Today’s Homes So Different, So Appealing? (1956), the "This is Tomorrow" exhibition at the Whitechapel Art Gallery was a vibrant demonstration of artistic production in Postwar Britain. The Independent Group, an assembly of artists working in multiple media who in various ways incorporated mass media ideas and imagery into their practice, was the most visible set of participants; their work is considered by many to have been a precursor to Pop in both Britain and America. The catalog, printed with a silkscreened cover by Lund Humphries, includes an essay by the critic Lawrence Alloway. It is a rich compendium, at once thoroughly documentary of the exhibition and itself an object of impeccable design.
Your house is mine / posters, Paul Castrucci ... [et al.] ; writers/illustrators, ACT-UP ... [et al.] ; organized & edited by Andrew Castrucci, Nadia Coën.
New York : Bullet, c1989-c1991.
Art & Architecture Library (Bowes) » Locked stacks (Large): Ask at circulation desk » HD7287.96 .U62 N5 1989
This set of twenty-nine posters encased within lead-clad boards documents the actions of various activist groups in New York’s Lower East Side during the last two decades of the twentieth century. In the environs of the [in]famous Tomkins Square Park, artist-activists (including ACT-UP, Chris Burden, Andrew Castrucci, Allen Ginsberg, and David Wojnarowicz) for various causes (including AIDS care, public housing reform, and gay and lesbian rights) convened at the anarchist haven Bullet Space in order to print an edition of 300 posters. Half of the posters were posted in the neighborhood; the other half were compiled into the Your House is Mine volume. The set includes these posters as well as a newsprint publication that describes the project and its causes. As representative of radical, street-focused artistic sentiment in the 80s and 90s as it is of the leftist political fringe, this collection is a monumental addition to the Art & Architecture Library.
New York : The Author, [1969?]
Art & Architecture Library (Bowes) » Locked stacks (Small): Ask at circulation desk » N7433.4 .S535 1969
Seth Siegelaub was one of the key figures in the development of Conceptual art in the late 1960s, curating shows that often contained no tangible objects (and, in turn, finding a niche in the commercial art market for these same non-objects). The catalog for the exhibition March 1969 (more frequently referred to as One Month) is a document of just such a show. Artists such as Douglas Huebler, Joseph Kosuth, Richard Long, and Lawrence Weiner were each given a page on which to create an artwork--an assignment which resulted in diagrams, tables, simple statements, and photographs. The resulting calendar was itself the show: a conceptual event composed of conceptual elements.