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On Kawara, born on this day in 1933, explored the passage of time in his art. Kawara’s two–volume book project One Million Years includes a listing of the years from 998,031 BC to 1969 AD (Volume One) and 1993 AD to 1,001,992 AD (Volume Two). At the request of the artist, portions of the books have been read aloud in locations around the world, recently at the Guggenheim Museum in New York. 

[On Kawara. One Million Years. 1999. The Museum of Modern Art, New York. © 2015 On Kawara]

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Wim Crouwel – A Graphic Odyssey (2011) exhibition design at the Design Museum

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Wim Crouwel / Stedelijk Museum / Vormgevers / Catalogue / 1968

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Dieter Roth – Diaries

http://www.e-flux.com/announcements/33897/dieter-roth-diaries/

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Dieter Roth, born today in 1930, often used unconventional materials, such as the secret ingredient in his Literaturwurst. 

[Dieter Roth. Literature Sausage (Literaturwurst). 1969, published 1961-70.]

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Yves Klein. Anthropométrie de l'époque bleue (1960)

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Yves Klein – Yves Peintures

Preface by Pascal Claude. Postface by Denys Riout. Postface by Jean-Louis Levy. Bilingual text (tr. Charles Penwarden). Special copy re-edited to format and onto the original paper.

In May, 1954, Yves Klein released only a few copies of Yves Peintures. This collection of monochromes has become so hard to find nowadays that it has been considered legendary. At the time it was produced and edited by Fernando Franco’s engraving workshop in Madrid. The preface, written by Pascal Claude, is composed of black lines instead of text. The ten rectangular plates are cut out of monochromatic paper and alongside with their graduated dimensions and captioned with a city’s name (Madrid, Nice, Tokyo, Paris).

This publication is considered as the first public gesture of Yves Klein as an artist. Through this piece, Yves Klein questions the idea of reproduction in art.

Starting from 1955, Klein exhibited colored monochromes (orange, green, red, yellow, blue, pink), all under the title “Yves Peintures” at the Club des Solitaires in Paris.

“Last night, on Wednesday, we went in an abstracts’ cafe […], the abstracts were there. They’re easy to recognize because they exhale of an abstract painting atmosphere and we see their paintings in their eyes. Maybe I am under some illusions, but I feel like I can see all of that. In any case, we were sitting with them […]. We got around to talking about the book Yves Peintures. Later, I went to get it from the car and threw it on the table. By the first few pages, the eyes of the abstracts had already changed. Their eyes lit up and in their depths appeared beautiful and pure unified colors.”

Klein, Journal parisien, on January 13th 1955.

40 pages. Format 19 x 24.5 cm. Presented in a paper box and goldembossed. Issued in a limited, numbered edition of 400 along with certificate from the Yves Klein Archives.

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Yves Klein -  anthropométrie bleue

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Yves Klein, Anthropometry with female figures, 1960 

Henri Matisse, Blue Nude I, II and III, 1952   

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Marcel Broodthaers, Atlas, 1975

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“Majestic, and woozily perplexing, Marcel Broodthaers: A Retrospective gives New York its first-time full exposure to one of Europe’s most influential 20th-century poet-artists.” The New York Times reviews Marcel Broodthaers: A Retrospective.

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Learn about Marcel Broodthaers in a new class led by the curatorial assistant for the current exhibition Marcel Broodthaers: A Retrospective. Reserve your spot today! The course begins April 11. 

[Marcel Broodthaers. Moi aussi, je me suis demandé si je ne pouvais pas vendre quelque chose et réussir dans la vie … (I, too, wondered whether I could not sell something and succeed in life …). 1964. The Museum of Modern Art, New York. © 2016 Estate of Marcel Broodthaers / Artists Rights Society (ARS), New York / SABAM, Brussels]

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1914

I am angry. Writing should never be limited to rules and restraints. That is why I am starting a much-need typographic revolution. Art is always moving and changing and making pictures and shapes. My writing will never look the same as anyone else’s writing because I make the font and design completely different every time I write something new. Why should it ever be the same? Art is free and cannot be stifled. I am declaring war on classic, old fashioned art starting now.

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http://www.100besttypefaces.com/4_bodoni.html

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Francesco Griffo design Bembo for the publisher Aldo Manutius in Venice