Mitchell Syrop (11 results)

Paperback. Condition: Near Fine. Lightworks, Number 13, Fall, 1980 with texts by Otto Piene, Jim Shaw, Mike Kelley, Mitchell Syrop and Richard Connolly among others. Photographers and artists' portfolios include Arthur Tress, Opal Louis, Pat Oleszko, Allen Dutton, David Akiba, Group "Zero", Peter Payack, Katherine Marking, and Patricia M. Sielski. 64 pages, paper with stiff cover. 8 1/2" x 11". Near Fine condition.

[28] pp.; 22.9 x 15.2 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held at Artists Space, New York, May 21 - July 2, 1983, and at LACE, Los Angeles, June 8 - July 16, 1983. Artists Space, New York artists include Jill Giegerich, Victor Henderson, Kim Hubbard, Lari Pittman, Mitchell Syrop, Megan Williams. LACE, Los Angeles artists include Charles Clough, Rebecca Howland, Jeff Koons, Nachume Miller, Christy Rupp, and Reese Williams. Fine. Includes errata sheet. Covers and contents clean and unmarked.

72 pp.; 28 x 21.5 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show held in dual venues : "The Eighties" at MIT List Visual Arts Center, Cambridge, MA, December 19, 1987 - February 7, 1988 and "Pioneers" at Bank of Boston Gallery, Boston, MA, November 23, 1987 - January 15, 1988. Artists included at MIT: Judie Bamber, Nancy Burton, David Bunn, Barbara Carrasco, Brad Dunning, Tim Ebner, Nancy Evans, Michael Gonzalez, John L. Graham, Connie Hatch, Jim Isermann, Mike Kelley, Liz Larner, Daniel J. Martinez, Patrick Nagatani, Luciano Perna, Lari Pittman, Stephen Prina, Ernest Scott, Jim Shaw, Mitchell Syrop, Andrée Tracey, and Christopher Williams. Artists at Bank of Boston included: ASCO, Michael Asher, Billy Al Bengston, John Baldessari, Chris Burden, Edward Kienholz, Kenneth Price, Bruce Nauman, Allen Ruppersberg, Edward Ruscha, Betye Saar, and "Futura" an installation by Jim Isermann. Essays by Friis-Hansen, Dennis Cooper, Rita Valencia, Benjamin Weissman, and "a conversation between two Los Angeles art critics" by Christopher Knight and Howard Singerman. Illustrations, biographies, checklist, and selected general readings. Very Good. Light rubbing of covers and bumping of corners. Contents clean and unmarked.

[64] pp.; 27.8 x 21.5 cm.; staple bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Spring 1985 issue of Journal. Edited by Lane Relyea. Contents include: "Iceland: Gateway to Hell," by Jeffrey Vallance; "Feature: Art and Poetry," edited by John Miller; "Factory Sets from ''Cinderella,'" by Erica Beckman; "Expressionism," by Benjamin Weissman; Jenny Bolande; "Simon Weasel," by Paul McMahon and Nancy Chunn; "The Commodity as a Country Music Theme," by John Miller; "To Marie Osmond," by Jack Skelley; "Scores for ''Parallel,'' ''Chinks/Weathervane,'' and ''Coat Dance," by Brina Gehry; "Hand in Glove," by Dennis Cooper; "Death of a Guerrilla Poet," by Dan Walworth; "A Conversation with Lynne Tillman and Sheila McLaughlin," by Steven Prina and Christopher Williams; "Living with Bad Faith," by Kathi Norklun; "Richard Baker: The Shapes and Spaces of the Psychic Body," by Jeff Kelley; "Some Thoughts in Passing on Richard Sigmund''s Roads," by Lane Relyea and "Demenstruation," by Mitchell Syrop. Cover: Erica Beckman. Very Good. Rubbing of covers with edge wear and light handling wear including light bumping of right side edge. Dusting of covers with light dust soiling and yellow soiling to verso. Contents clean and unmarked.

60 pp.; 27.9 x 21.6 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Fall 1987 issue of Journal. "This issue of JOURNAL is a collaborative effort between thirteen contributing editors representing ten cities of nations in the United States and Western Europe. The works appearing in this issue were chosen by the contributing editors.and were created especially for the magazine." -- from the introduction. Each artist provided a single page for individual artists' projects. COntents include: "Local/International," edited by Muntadas and Mar Villaspesa, featuring Agustin Parejo School, Joan Rabascall, Victoria Gil, Federico Guzman, Ana Busto and Rafael Agredano; "Chicago Artists," edited by Hudson, featuring Kay Rosen, Mark Pederson, David Sedaris, Jeanne Dunning and Johnny Pixchure; "German Artists," edited by Stuart Regen, featuring Imi Knoebel, Andreas Shulze, Jiri Georg Dokoupil, Walter Dahn and Rosemarie Trockel; "London Artists," edited by Andrew Graham-Dixon, Greg Hilty and Kate Macfarland, featuring Hannah Collins, Anthony Wilson, Richard Wilson, Helen Chadwick and Kate Whiteford; "Los Angeles Artists," edited by Colin Gardner, featuring Larry Johnson, Douglas Huebler, Alexis Smith, David French and Mitchell Syrop; "Eight Artists Respond to a Photo," edited by Dorit Cypis, featuring Paul McMahon/Leeny Sack, John Schlesinger/Reese Williams, Valerie Ellis/ Marion McClinton and Adriana Angel/Morgan Thomas; "New York Artists," edited by Susan A. Davis, featuring Susan Davis, Beje LaRico, Michael N. Ballou, Aura Rosenberg and Barbara Broughel; "French Artists," edited by Catherine Arthus-Bertrand, featuring Dominique Gonzalez-Foerster, Gilles Mahé, Ernest T. and Felice Varini; "Pirri Mantegna Petroiusti Roma," edited by Caterina Borelli, featuring Alfredo Pirri, Gianfranco Mantegna and Cesare Petroiusti and "Artists in Vienna," edited by Peter Pakesch, featuring Heimo Zobernig, Herbert Brandl, Gerwald Rockenschaub, Markus Geiger and Otto Zitko. Very Good / Fine. Light rubbing of covers and spine edge with 1.3 cm. area of gentle bumping to verso. Contents clean and unmarked.

[27] pp.; 14 x 21.5 cm.; comb bound; black-and-white & color; edition size unknown; unsigned and unnumbered; photocopy / xeroxed Exhibition catalogue published in conjunction with show held September 23 - October 19, 1991. Curated and with an essay by Stacia Payne. Artists include Jean-Michel Basquiat, Vernon Fisher, Jenny Holzer, Silvia Kolbowski, Jeff Koons, Alexander Kosolapov, Barbara Kruger, Richard Prince, Tim Rollins + K.O.S., Mitchell Syrop, and David Wojnarowicz. Includes exhibition checklist. "Recently we have seen a number of artists using words as the primary visual element in their work to make critical comments on diverse social, economic, political and aesthetic issues. 'Transpositions' demonstrates the strategy of contemporary artists who embrace and effectively use the power and familiar methods of mass media while simultaneously critiquing the message, the vehicle, and the consumer." -- from the foreword by Margaret A. Miller. Very Good / Fine. Light scuffing and handling wear to covers, otherwise Fine. Contents clean and unmarked.

[84] pp.; 27.8 x 22 cm.; comb bound; black-and-white; edition size 150; unsigned and numbered; offset-printed Artist's publication / exhibition catalogue published in conjunction with show held July 8 - August 19, 1989. Organized by Jeff Beall and Tony Greene. Includes multi-page artists projects by Benjamin Weissman, Jan Tumlir, Mitchell Syrop, Amy Gerstler, and Richard Hawkins. Additional artists in the exhibition, but not represented in the publciation, include Fred Fehlau, Martha Godfrey, Doug Hammett, Yves Klein, Mara Lonner, Mark Niblock, Belinda Raczka, Charles Ray, Marc Romano, Sarah Seager, Peter Seidler, Michael Tidmus, and Millie Wilson. Very Good. Numbered 130/150 in black ink. Yellowing of covers with light edge wear. 4 cm. crease to bottom left corner of verso and 7 mm. crease along top edge of spine with light yellowing staining of verso. Contents clean and unmarked.

Soft cover. Condition: Very Good. 1st Edition. Very Good staple-bound paperback. SIGNED by David Sedaris. This is Volume 1 of the iconic Farm magazine, featuring the first publication of a David Sedaris short story, "My Manuscript." This story would appear six years later in a different form in Sedaris's debut book, Barrel Fever. Also includes the early story "George: Thursday, Friday, Saturday" by Dennis Cooper, preceding the publication of his first novel by a year. Illustrated throughout. Light shelf wear to the exterior. The text is clean and bright. Signed by Author(s).

[32] pp.; 21.6 x 14 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Unnumbered, undated issue of Farm published circa 1988. Includes images of works by Kathe Burkhart, Jeanne Dunning, Etienne, Rene Santos, Richard Prince, Kay Rosen, B. Wurtz, Mitchell Syrop, Raymond Pettibon, Mark Kroening, Arnold Fern, Nayland Blake, David Robbins, General Idea, and Kevin Wolf with texts by Collier Schorr, Dennis Cooper, Burkhart, David Sedaris, and Richard House. Reference : "Hello, We Were Talking About Hudson" Edited by Steve Lafreniere, Chicago, IL : Soberscove Press, 2024. Good / Very Good. Moderate wear to covers. Contents clean and unmarked.

[unpaginated]; 9.2 x 11 x 3.5 cm. (box); black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Bar of soap multiple by Mitchell Syrop with engraved text on the soap that reads "All Systems Go!" Housed in a box with blue tissue paper. ". Syrop''''''''s exhibit at Kuhlenschmidt-Simon Gallery, an installation called "A Plied Art," pushed these concepts one step further. Syrop revamped the gallery space as a sort of museum shop-public relations presentation. Hand-painted photo murals, decals, imprinted soap, sponges, and bumper stickers were all part of a broad linguistic sales pitch, cleverly blurring any distinction between the merchandising of art and the art of merchandising. For example, gallery owners and artist alike were promoted through business cards advertising "Situational Adjustment Via Linguistic Enhancement." Semiotics, once primarily the domain of leftist intellectuals, had been transformed into a closed business "empire of signs," where language, environment, and purchasing power comprised an invidious hierarchy regulated by supply and demand." -- from Colin Gardner, "Reviews : Los Angeles," Artforum (January 1987). Reference : "Mitchell Syrop : MATRIX / BERKELEY 113" by Constance Lewallen. Berkeley, CA : University Art Museum, 1988 Good / Very Good. 2 cm. area of soiling and bumping to right side of box with creasing to top of the box. Plastic window of box has un-adhered from cardboard and is now losse. Soap is slightly adhered to the blue tissue paper. Otherwise clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.

[unpaginated]; 22.5 x 18 cm.; black-and-white & color; edition size unknown; signed and unnumbered; offset-printed Multiple by Mitchell Syrop titled "A Plied Art : 4 Sponges, Situational Adjustment Via Linguistic Enhancement." The text on the sponges reads: "Fertile Soil," "Critical Mass," "Spare Change," and "Campaign Trail." Signed and dated 1987 on the verso of the sponge(s). ". Syrop''''''''s exhibit at Kuhlenschmidt-Simon Gallery, an installation called "A Plied Art," pushed these concepts one step further. Syrop revamped the gallery space as a sort of museum shop-public relations presentation. Hand-painted photo murals, decals, imprinted soap, sponges, and bumper stickers were all part of a broad linguistic sales pitch, cleverly blurring any distinction between the merchandising of art and the art of merchandising. For example, gallery owners and artist alike were promoted through business cards advertising "Situational Adjustment Via Linguistic Enhancement." Semiotics, once primarily the domain of leftist intellectuals, had been transformed into a closed business "empire of signs," where language, environment, and purchasing power comprised an invidious hierarchy regulated by supply and demand." -- from Colin Gardner, "Reviews : Los Angeles," Artforum (January 1987). Reference : "Mitchell Syrop : MATRIX / BERKELEY 113" by Constance Lewallen. Berkeley, CA : University Art Museum, 1988. Very Good. SIGNED and dated by the artist in black ink on the sponge. In original unopened packaging. Bumping, creasing, and yellowing to the paper portion of packaging and loss of the red dot sticker above the text "Fertile Soil." Otherwise clean and unmarked.