Mirtha Dermisache (19 results)

Softcover. Condition: Very Good. [LITERATURE]. Ed. Paul Kahn. Contributors: Gary Snyder, Olivier Delbard, Nacho Fernandez, Lubos Snizek, Luci Collin, Irina Dyatlovskaya, Shigeyoshi Hara, Chiara D'Ottavi, Francesco Gengoni, Reidar Ekner, Willie Alexander, Hallam Ferguson, Norman Fischer, Carl Caulkins, Eliot Weinberger, J.B. Bryan, Martin Kemp, Antonio Criminisi, Claude Mollard, Ted Nelson, Gregoire Paultre, James Koller, Mirtha Dermisache, Paul Kahn, Carrie Noland, Edgardo Cozarinksy, Florent Fajole, et al. "New Magazine: International Visual and Verbal Communication: Issue 1 (2005): Translating Gary Snyder." Paris, FR: Kahn and Associates, New Magazine, 2005. English language. Softcover. Sticker residue on front cover. Very Good. No ISBN.…

Soft cover. Condition: New. Incredibly impressive volume collecting concrete poetry by female creators from across the globe over 480 pages. Now out of print. This copy is brand new, factory sealed. Appears to be a teeny bit of bumping at the crown of the spine, but a bit hard to tell under shrink. No discernable wear otherwise. Contributors: Lenora de Barros, Ana Bella Geiger, Mira Schendel, Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri, Amanda Berenguer, Suzanne Bernard, Ilse Garnier, Blanca Calparsoro, Paula Claire, Jennifer Pike, Betty Danon, Mirtha Dermisache, Bohumila Grögerová, Ana Hatherly, Salette Tavares, Madeline Gins, Mary Ellen Solt, Susan Howe, Liliane Lijn, Rosmarie Waldrop, Irma Blank, Ruth Wolf-Rehfeldt, Chima Sunada, Katalin Ladik, Bogdanka Poznanović. …

Encuadernación de tapa blanda. Condition: Muy bueno. Dermisache, Mirtha (1940-2012). "Libro n ° 8: 1970". Edición realizada en 2003 por Xul (Buenos Aires), Mobil-Home (Marsella) y Manglar (Nîmes). Impresa en Buenos Aires. 32 páginas. Medidas: 28 x 23,3 cm. Encuadernación rústica con solapas. (código 4963).…

Original Wraps. Condition: Fine. Dust Jacket Condition: Very Good. 1st Edition. [12 ] p, 7 pages of black and white illustrations. Final printed page has a facsimile of her distinctive signature. Card covers with spiral binding. In 1970 the International Cultural Centre opened as the first public institution for contemporary art in Flanders in Antwerp. This artist book of Mirta Dermisache's work was published in conjunction with an exhibition, "Kunstsystemen in Latijns-Amerika 1974" held there in April-May 1974. One of an edition of 2000 copies edited by Jorge Glusberg for the Centre of Art and Communcation in Buenos Aires. In fine state.…

Original Wraps. Condition: Near Fine. 1st Edition. 20 mimeographed pages of Dermisache's asemic writing. Brown paper wrappers with white wrap around label with title at front and publishers details to rear. Numbered 95 with artist's signature in pencil. From the limited edition of 150 signed and numbered copies. Signed by Author(s).…

Edition of 700. Softcover 4to in blank wrappers housed in a white dust jacket printed in black. Pages printed in black on white stock. Unpaginated [72 pp.]. Text in French. Artists' book by Mirtha Dermisache, presenting her self-coined 'graphisms' and asemic writing. The book consists of a body of writing composed of five evenly spaced horizontal lines, with varying numbers of vertical lines placed at different angles, creating a rigid yet open reading experience. All text and bibliographic information is printed on the dust jacket, leaving the book itself blank aside from the artist's hand. A quiet, elegant reversal, and a beautiful piece of editorial thinking. Issued on the occasion of the exhibition 'Mirtha Dermisache LIBROS: Dispositif éditorial Florent Fajole,' held October 4-December 20, 2008, at the Centre des livres d'artistes in Saint-Yrieix-la-Perche. One of several publications involving Florent Fajole and the artist in conjunction with various publishers. Artifact Vibration Score: 8.3. Trace amounts of rubbing and wear to dust jacket. Else fine.…

First edition of 1,000. Softcover large 8vo in card stock wrappers with folded flaps, printed in gray and black, with front cover foil stamped in black. Pages printed in black or blue on cream-colored stock. Unpaginated [128 pp.]. Artists' book by Mirtha Dermisache, presenting her self-coined 'graphisms' and asemic writing. The first collection of Dermisache's work published in the United States, this volume includes a selection of sixteen texts titled 'Textos | 1970-1979,' alongside two books previously self-published by the artist, 'Sin título (Libro),' from 1971, and 'Libro No. 1,' from 1972. Also includes a short biography of the artist alongside an artist's statement by Dermisache. A generous survey of Dermisache's unmistakable hand. Artifact Vibration Score: 8.3. Light chipping along cover extremities and small bump at lower right rear cover affecting the last few pages. Else near fine.…

Edition of 500, including 50 signed and numbered examples and 50 numbered hors-commerce examples; this is one of the 400 regular examples. Blank white folder measuring 20.3 × 30 cm (8 × 11.8 in.), with a white embossed belly band, housing two unbound folded leaves measuring 40 × 29 cm (15.7 × 11.4 in.) unfolded, printed in black at recto and verso. Text in French. Unbound artists' book by Mirtha Dermisache, presenting her self-coined 'graphisms' and asemic writing across two folded leaves. The chosen publication format reinforces the title, as the reading experience is not a complete account, but fragments read in sequence. Part of an ongoing editorial engagement between Florent Fajole, the artist, and a range of publishers. Artifact Vibration Score: 8.3. Short gentle diagonal fold lines at upper left spine of leaves. Else near fine.…

Softcover, 304 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Soft cover. Condition: Very Good. 1st Edition. Very uncommon book about the art of Mirtha Dermisache, with critical essays and extensive documentation. Well-bound and internally unmarked. Very light shelfwear to covers and corners, with some very faint bumping along one part of the back cover, with occasional but negligible discoloration to all white covers.…

Edition of 400. Three-panel folder measuring 29 × 23.5 cm (11.4 × 9.25 in.), printed in black on ivory card stock, housing three unbound leaves measuring 28 × 23 cm (11 × 9.1 in.), printed in black on ivory card stock. Includes a sheet machine-folded three times, measuring 15.06 × 23.13 in. (38.3 × 58.7 cm) unfolded, printed in color at recto and verso on white stock. Unbound artists' book by Mirtha Dermisache, presenting her self-coined 'graphisms' and asemic writing through three variations of 'texto, circa 1970' as a set of unbound leaves. An intimate study in recurrence and difference. Issued by Immanences éditions in collaboration with Henrique Faria Fine Art. Part of an ongoing editorial engagement between Florent Fajole, the artist, and a range of publishers. Accompanying this example is the folded poster promoting the exhibition 'Mirtha Dermisache: The Otherness of the Writings,' held December 1, 2017-January 20, 2018, at Henrique Faria Fine Art in New York, curated by Florent Fajole. The poster includes a short biography of the artist, reproductions of several works, and an essay by Fajole. Artifact Vibration Score: 8.3. Trace amounts of rubbing and wear to folder. Else fine. Folded poster with trace amounts of rubbing at cover. Else fine.…

Condition: Fine. Antwerpen: Guy Schraenen Éditeur, 1978, 10×15 cm. Set of artist's postcards, signed and numbered edition of 100 copies. 4 artist's postcards featuring the cryptic asemic writings of Mirtha Dermisache plus a colophon card signed and numbered, housed inside folding card. Cards illustrated recto-verso. Set comes in original glassine folder. Limited edition of 100 copies. This one being Nr. 94. Fine. Signed by Illustrator(s).…

Edition of 100 signed examples, of which this is no. 22. Four postcards and one colophon card measuring 15.7 × 11 cm (6.18 × 4.3"). Four cards printed in black at recto and verso and one printed in black at recto. Postcards laid into a two-panel folder of the same size, printed in black at recto and verso. Housed in publisher's open-end glassine envelope. Text in French. Signed in pencil by the artist at colophon card. Set of artists' postcards by Mirtha Dermisache, presenting her self-coined 'graphisms' and asemic writing that create visual reading experiences without grammar or syntax, thus democratizing language. Artifact Vibration Score: 8.7. Glassine envelope with handling creases and small closed tears along opening flap. Postcards with trace amounts of offset rubbing on account of the thick ink. Near fine.…

16mo. (110 x 157 mm). Folded card with titles in black within border to front cover, colophon and achevé d'imprimer to interior and 4 postcards, each with Dermisache's graphisms recto and verso; card size: 105 x 147 mm. Loose as issued in original publisher's glassine envelope. An excellent example of Mirtha Dermisache's scarce artist-postcards. From the edition 'illimité'. Dermisache has - helpfully - filled the left-hand verso of the card, that most usually reserved for the sender's written message, with her own asemic writing; she has left the address field blank. 'In the book works of Mirtha Dermisache I discovered an oeuvre that was hitherto unknown to me. I was acquainted with language works . dealing with abstract signs. In this field, the language developed by Mirtha Dermisache fascinated me.' (Guy Schraenen). [see 'A Transatlantic Affair' by Guy Schraenen (pp. 33 - 47) in 'Mirtha Dermisache - Because I Write!', Buenos Aires, 2017].…

Third edition of 1,000, of which this is one of 300 signed examples. Unbound tabloid newspaper measuring 36.5 × 47.5 cm (14.4 × 18.7 in.), consisting of two folded sheets printed in black on white stock. Unpaginated [8 pp.]. Signed in pencil by the artist at lower back cover. Artists' book in the form of a tabloid newspaper by Mirtha Dermisache, presenting her self-coined 'graphisms' and asemic writing that create visual reading experiences without grammar or syntax, thus democratizing language. Artifact Vibration Score: 8.9. Trace amounts of age toning and hard horizontal fold line at center. Near fine.…

Condition: Very Good. Buenos Aires / Antwerpen: Centro de Arte y Comunicación (CAyC) / Internationaal Cultureel Centrum (ICC), 1973. First edition of 2,000. Plastic spiral bound softcover 8vo in wrappers with folded flaps printed in black and white. With pages printed in black and white. Unpaginated (18 pp.) Text in Spanish and English. In excellent condition. Binding intact, wraps and pages clean. "Catalogue in the form of an artists' book by Mirtha Dermisache featuring her asemic writing consisting of illegible words which allow the reader to impart their significance. Dermisache's graphisms democratize language and create intimate reading experiences without grammar or syntax. Words are turned into something abstract, which in turn examines the possibilities of language and the need for human communication. Issued on the occasion of her first European exhibition at Internationaal Cultureel Centrum (ICC) in Antwerp, Belgium, which ran April-May, 1974. Organized by Jorge Glusberg and published by CAyC.".…

Buenos Aires, 1970, manuscrit original de 14 feuillets manuscrits, 283x231mm, présenté dans un classeur réalisé par MirthaDermisache en 2000.Signé en dernière page « Libro N°8 1970 MDermisache » et 'Libro reencuadernado en el ano 2000 en Bs As MDermisache». (2807.8) Mirtha Dermisache étudie à l'école nationale des Beaux-arts Manuel Belgrano et Prilidiano Pueyrredón.Sa carrière commence dans les années 1960 avec la publication de Libro N° 1 en 1967.De 1971 à 1974, elle engage une correspondance avec Roland Barthes, à qui elle fait parvenir un de ses carnets de dessin.Dans une lettre datée du 28 mars 1971, il décrira son travail en ces termes :« Vous avez su produire un certain nombre de formes, ni figuratives ni abstraites, que l'on pourrait ranger sous le nomd'écriture illisible ce qui revient à proposer à vos lecteurs [] l'idée, l'essence de l'écriture. »Sa production commence à être présentée à l'étranger, et plus particulièrement en Europe du Nord où ses réflexions sur larelation entre le livre et l'art font écho aux intérêts de nombreux curateurs et curatrices ainsi qu'à ceux de beaucoup d'institutionsmuséales. Grâce au Centre d'art et de communication (CAyC), invité par Marc Dachy et Guy Schraenen à Anvers(1974), elle expose notamment en Belgique. Sa rencontre avec G. Schraenen est décisive : celui-ci fait paraître Diario No 1dans sa maison d'édition Archive for Small Press and Communication et fait circuler son travail dans plusieurs villes d'Europe.C'est durant cette même décennie qu'elle réfléchit à la capacité éditoriale de ses oeuvres, qui sont produites à la plume,au stylo tubulaire, au feutre ou simplement avec la main et qui doivent exister sous la forme ultérieure d'une publication.…

Condition: Très bon. Anvers, Guy Schraenen, 1975, 8 pages, non numérotées 470x360mm, imprimées en offset.Tirage de 1000 exemplaires, un des 300 de tête signé par l'auteur. Mirtha Dermisache étudie à l'école nationale des Beaux-arts Manuel Belgrano et Prilidiano Pueyrredón à Buenos Aires. Sa carrière commence avec la publication de Libro N° 1 en 1967. De 1971 à 1974, elle engage une correspondance avec Roland Barthes, à qui elle fait parvenir un de ses carnets de dessin.Dans une lettre datée du 28 mars 1971, il décrira son travail en ces termes :« Vous avez su produire un certain nombre de formes, ni figuratives ni abstraites, que l'on pourrait ranger sous le nom d'écriture illisible ce qui revient à proposer à vos lecteurs [] l'idée, l'essence de l'écriture. »Sa production commence à être présentée à l'étranger, et plus particulièrement en Europe du Nord où ses réflexions sur la relation entre le livre et l'art font écho aux intérêts de nombreux curateurs et curatrices ainsi qu'à ceux de beaucoup d'institutions muséales. Grâce au Centre d'art et de communication (CAyC), invité par Marc Dachy et Guy Schraenen à Anvers (1974), elle expose notamment en Belgique. Sa rencontre avec G. Schraenen est décisive : celui-ci fait paraître Diario No 1 dans sa maison d'édition Archive for Small Press and Communication et fait circuler son travail dans plusieurs villes d'Europe. C'est durant cette même décennie qu'elle réfléchit à la capacité éditoriale de ses uvres, qui sont produites à la plume, au stylo tubulaire, au feutre ou simplement avec la main et qui doivent exister sous la forme ultérieure d'une publication.État parfait. (2807.8) (105485) Collation : 0.…

Condition: Très bon. Anvers, Guy Schraenen, 1975, 275x215cm, 12 feuillets non numérotés sous couverture souple brune et bande de titre entourant l'ouvrage. Edition originale de ce livre d'artiste composé de pages d'écriture asémique Tirage total de 150 exemplaires signés et numérotés, seule édition.Exemplaire n°20/20 de l'édition de luxe contenant un des 20 carbones originaux ayant servi à la réalisation du livre.Mirtha Dermisache étudie à l'école nationale des Beaux-arts Manuel Belgrano et Prilidiano Pueyrredón à Buenos Aires. Sa carrière commence avec la publication de Libro N° 1 en 1967. De 1971 à 1974, elle engage une correspondance avec Roland Barthes, à qui elle fait parvenir un de ses carnets de dessin.Dans une lettre datée du 28 mars 1971, il décrira son travail en ces termes :« Vous avez su produire un certain nombre de formes, ni figuratives ni abstraites, que l'on pourrait ranger sous le nom d'écriture illisible ce qui revient à proposer à vos lecteurs [] l'idée, l'essence de l'écriture. »Sa production commence à être présentée à l'étranger, et plus particulièrement en Europe du Nord où ses réflexions sur la relation entre le livre et l'art font écho aux intérêts de nombreux curateurs et curatrices ainsi qu'à ceux de beaucoup d'institutions muséales. Grâce au Centre d'art et de communication (CAyC), invité par Marc Dachy et Guy Schraenen à Anvers (1974), elle expose notamment en Belgique. Sa rencontre avec G. Schraenen est décisive : celui-ci fait paraître Diario No 1 dans sa maison d'édition Archive for Small Press and Communication et fait circuler son travail dans plusieurs villes d'Europe. C'est durant cette même décennie qu'elle réfléchit à la capacité éditoriale de ses uvres, qui sont produites à la plume, au stylo tubulaire, au feutre ou simplement avec la main et qui doivent exister sous la forme ultérieure d'une publication.État parfait. (2807.8) (105484) Collation : 0.…