by MAENZ, Paul, curator
Many full-bleed black & white illus (some double-page). [36] pp. 4to (310 x 213 mm.), printed wrappers, leaves uncut, staple-bound. N.p.: [1967].
A groundbreaking exhibition catalogue, designed by Paul Maenz, that documents a famous two-hour Conceptual art show; edition of 500 copies, plus “sample” copies, including this one. The catalogue contains reproductions of black & white photographs of the conceptual works prepared for the show. Most of the artists were unable to attend in-person, instead they sent instructions to the organizer Maenz for the “installation” of pieces such as Jan Dibbets’ sawdust Perspective Correction; Richard Long’s mailed bundle of branches to be placed per his specifications; John Johnson’s rectangular sections of sod; and Flanagan’s participatory work involving an electric heater, salt shaker, and slice of bread, and the instructions to “appreciate and eat it all.” Posenenske’s cardboard sculpture was re-arranged by the artist herself and assistants for the duration of the exhibition.
“In September 1967, Maenz organized another show that was essential to the beginnings of Conceptual art in Europe. The performance-exhibition Dies alles Herzchen wird einmal gehören, 19:45-21:55, September 9th, 1967, Frankfurt, Germany (Someday, Sweetheart, All this Will be Yours) was organized in Niederursel, outside Frankfurt, in the former stables of the Galerie Dorothea Loehr. It presented ephemeral works by eight young European artists: Dibbets, Fischer-Lueg, Posenenske, Roehr, Flanagan, Höke, Johnson and Long…
“The show included young British artists unknown in Germany. The contact with and suggestion to include these artists was made by Dibbets. In 1967, he had been awarded a British Council grant to study at St. Martin’s School of Art in London. There he got to know Long and Flanagan, and also George Pasmore (later of Gilbert & George). They could not come over for the show and therefore their work was realised according to instructions they had sent. ”–Sophie Richard, Unconcealed: The International Network of Conceptual Artists 1967-77, Dealers, Exhibitions and Public Collections (2010), p. 54.
In near fine condition; wrappers a trifle sunned. The leaves are uncut, making some openings laborious to view.
❧ L. Lippard, Six Years: The dematerialization of the art object from 1966 to 1972 (2001 ed.), p. 30. (Inventory #: 10681)
A groundbreaking exhibition catalogue, designed by Paul Maenz, that documents a famous two-hour Conceptual art show; edition of 500 copies, plus “sample” copies, including this one. The catalogue contains reproductions of black & white photographs of the conceptual works prepared for the show. Most of the artists were unable to attend in-person, instead they sent instructions to the organizer Maenz for the “installation” of pieces such as Jan Dibbets’ sawdust Perspective Correction; Richard Long’s mailed bundle of branches to be placed per his specifications; John Johnson’s rectangular sections of sod; and Flanagan’s participatory work involving an electric heater, salt shaker, and slice of bread, and the instructions to “appreciate and eat it all.” Posenenske’s cardboard sculpture was re-arranged by the artist herself and assistants for the duration of the exhibition.
“In September 1967, Maenz organized another show that was essential to the beginnings of Conceptual art in Europe. The performance-exhibition Dies alles Herzchen wird einmal gehören, 19:45-21:55, September 9th, 1967, Frankfurt, Germany (Someday, Sweetheart, All this Will be Yours) was organized in Niederursel, outside Frankfurt, in the former stables of the Galerie Dorothea Loehr. It presented ephemeral works by eight young European artists: Dibbets, Fischer-Lueg, Posenenske, Roehr, Flanagan, Höke, Johnson and Long…
“The show included young British artists unknown in Germany. The contact with and suggestion to include these artists was made by Dibbets. In 1967, he had been awarded a British Council grant to study at St. Martin’s School of Art in London. There he got to know Long and Flanagan, and also George Pasmore (later of Gilbert & George). They could not come over for the show and therefore their work was realised according to instructions they had sent. ”–Sophie Richard, Unconcealed: The International Network of Conceptual Artists 1967-77, Dealers, Exhibitions and Public Collections (2010), p. 54.
In near fine condition; wrappers a trifle sunned. The leaves are uncut, making some openings laborious to view.
❧ L. Lippard, Six Years: The dematerialization of the art object from 1966 to 1972 (2001 ed.), p. 30. (Inventory #: 10681)
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