Twentysix Gasoline Stations, Los Angeles: author’s edition, 1963
C. Andre, R. Barry, D. Huebler, J. Kosuth, S. LeWitt, R. Morris, L. Weiner
Untitled [Xerox Book], New York: Seth Siegelaub / John W. Wendler, 1968 [cover and inside pages]
Bilder, Hilden/Heidelberg/Torino: Hans-Peter Feldmann / Staeck / Gian Enzo Sperone, 1968-1974 [selection]
Untitled [Great Noach Quarry], n.d. [1968?]
Gilbert & George
A Message from the Sculptors, London: Art for All, 1969 [selection]
Fabro, Milan: Galleria de Neubourg, 1969. Poster
Kounellis, Rome: L´Attico, 1969. Poster
Bernd and Hilla Becher
Niki de Saint-Phalle
My Love, Where Shall We Make Love?, Malmö: Litografik AB, n.d. [1971?]
Eleanor Antin. 100 Boots on the March, San Diego: Frye & Smith, 1972
Missoula Ranch Locators. Vision Encompassed. Nancy Holt, Missoula: University of Montana, 1972. Poster
Transportation Transportation’, New York: s.n., 1973
Un voyage en Mer du Nord, Brussels: Hossmann, 1973. Artist book and original photographs
Once Upon a Time. C’era una volta, Milan: Galleria Toselli, 1973. Poster, artist book and photograpies [selection]
Agnes Martin, Munich: Kunstraum, 1973
Annette Messager Sammlerin - Annette Messager Künstlerin, Munich: Stästische Galerie im Lenbachhaus, 1973
Handbook in Motion, Halifax: The Press of the Nova Scotia College of Art and Design, 1974
Yvonne Rainer: Work 1961-73, Halifax: The Press of the Nova Scotia College of Art and Design, 1974
Spatial Poem, Osaka: s.n., 1976
River Avon Book, n.d. [1979?]. Unique artist book. Mood on paper, 15.9 x 14.2 cm [cover and inside]
In 1976, Sol LeWitt declared in Art-Rite magazine: «Art shows come and go but books stay around for years. They are Works themselves, not reproductions of Works. Books are the best medium for many artists working today».
Indeed, like LeWitt, from 1960 onwards many creators had begun to include books —and, by extension, other printed formats, such as posters, invitations, postcards...— among the mediums considered appropriate for their artistic practice. This was for a variety of reasons: they could be distributed avoiding the trodden pathways of the art market, over which artists lacked control; by being printed in large print runs, their reach and recipients potentially multiplied, being freed at the same time from the «aura» of unique and original works; industrial printing methods offered a new field for experimentation....
This attitude, fundamental to the consolidation of publications as an artistic format in their own right —which would never again cease to be utilized profusely— was, in its early days, original and revolutionary. Archivo Lafuente has brought together in the documentary collection «Artist Publications 1962-1978» the pioneering works of this new territory, which appeared during the same years during which the conceptual movement and its various offshoots —minimalism, land art, etc.— were gaining a foothold in the art world.
Ed Ruscha, Carl André, Lawrence Weiner, Dan Graham, Trisha Brown, Yvonne Rainer, Robert Smithson, Adrian Piper, Hans-Peter Feldmann, Hanna Darboven, Bernd and Hilla Becher, Marcel Broodthaers, Annette Messager, Richard Long, Hamish Fulton, Gilbert & George, Luciano Fabro, Marisa Merz, Gianis Kounellis... now in their own publications, now in collective works such as the famous Xerox Book, in which the gallery owner and publisher Seth Siegelaub gathered early experiments with photocopiers—in the 1960s and 1970s numerous artists blazed a trail along which many creators have continued to travel until today.