{"title":"The Long Sixties","description":null,"products":[{"product_id":"ravi-shankar-autobiography-george-harrison-110963","title":"Raga Mala. The Autobiography of Ravi Shankar.","description":"\u003ch4 class=\"srb-faux-head\"\u003eBeatles association – inscribed to Hilary Gerrard by George Harrison\u003c\/h4\u003eA lovely Beatles association, with Harrison's signed presentation inscription to the limitation leaf, 'to Hilary with love - George Harrison'. The recipient was Hilary Gerrard, a board director of Apple Corps and for four decades, Ringo's manager. Hilary and George had briefly shared a house some time in the 1970s.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, sole printing; one of 2000 numbered copies specially bound and signed by Shankar; 8vo; publisher's gold silk, device to upper board and titles to spine gilt, all edges gilt, decorative endpapers. Housed in the original folding box with matching containers holding CDs and incense. Fine.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"SHANKAR, Ravi.","offers":[{"title":"Default Title","offer_id":48205267108145,"sku":"110963","price":4500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/110963_254d8079-3b42-4e63-a6f9-200187d6fc24.jpg?v=1790193488"},{"product_id":"carolee-schneemann-david-crosswaite-thames-crawling-1970-112744","title":"Small archive relating to Carolee Schneeman's 'Thames Calling' performance at the Underground Film Festival, National Film Theatre, London, 14th to 20th Sept 1970. [With:] the 'low cost edition' of Schneeman's Parts of a Body House Book.","description":"\u003ch4 class=\"srb-faux-head\"\u003ephotographs of a Carolee Schneemann performance\u003c\/h4\u003eCarolee Schneemann is a pioneering performance artist, filmmaker, and writer on the subjects of feminism, sexuality, and the ecstatic body as a source of knowledge. These photographs by David Crosswaite show her 'Thames Crawling' performance at the 1970  International Underground Film Festival at the National Film Theatre, London.\u003cbr\u003e\u003cbr\u003eIn a note to David Curtis, co-organiser with Simon Field of the Film Festival, Carolee Schneemann writes:\u003cbr\u003e\u003cbr\u003e'Dear Dave: PUBLIC NOTICE –Yugoslavian films lost to us – total black out on communications; at. this late date it must mean \"not possible\". For the late evening program, 17th, where we hoped to have the Yugoslavian films, I'll present an expanded cinema piece (Kinetic Theater my name for it) juxtaposing \"Fuses\" and \"Viet-Flakes\" on  buttresses outside, under the NFT Theater; a performance in a foam rubber environment which might engulf performers and spectators – an activation exchange. Call it for now, \"Thames Crawling\". Realisation with Joan Lifton.'\u003cbr\u003e\u003cbr\u003eDavid Crosswaite is a filmmaker and artist associated with the London Film-Makers' Co-operative (LFMC). He photographed many happenings and performances, and his photographs of 'Thames Crawling' are included in Carolee Schneemann's \u003cem\u003eParts of a Body House Book\u003c\/em\u003e (1972) artists' book. \u003cbr\u003e\u003cbr\u003eThe LFMC was founded in 1966 as a screening club at Better Books on Charing Cross Road, London, and grew into a pioneering organisation that played a crucial role in establishing film as an art form in the UK. In the 1990s, the LFMC merged with London Electronic Arts and became the Lux Centre, which later became Lux.\u003cbr\u003e\u003cbr\u003eSome photographs from 'Thames Crawling' feature in Parts of a Body House Book, which Schneemann describes as being 'an accumulation of letters, analyses of films and charts of sexual parameters which incorporate many of the issues that were of great concern in the early 1970s in London. The texts are centered on those aspects of the body that were then considered shameful or taboo or were simply ignored.'\u003cbr\u003e\u003cbr\u003eThis 'low-cost edition' of Parts of a Body House Book was published by the same press, two months after the 'deluxe edition' of 60 signed and numbered copies (plus 15 artist's proofs).\u003cbr\u003e\u003cbr\u003e\u003ci\u003e18 vintage gelatin silver photographs (105 x 164 mm, 4¼ x 6 ½ in); occasional minor marks, lightly curled, one with a caption and credit in black pen on verso.\u003cbr\u003e\u003cbr\u003e[With:] International Underground Film Festival 14th to 20th Sept 1970. London, National Film Theatre, 1970.\u003cbr\u003e\u003cbr\u003ePoster; (592 x 420 mm, 23¼ x 16½ in); yellow paper printed in red, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] National Film Theatre. September 14th – 20th 1970. South Bank, London. International Underground Film Festival – provisional schedule (as of Sept 3rd.)\u003cbr\u003e\u003cbr\u003eProgramme\/schedule; two duplicated leaves of pale blue paper printed on both sides (330 x 203 mm, 13 x 8 in), folded for mailing, toning to edges with light wear at folds, very good.\u003cbr\u003e\u003cbr\u003e[and:] Oz News. International Film Festival Supplement. Compiled by Dannae Hughes, Ian Stocks and Albie Thoms. Oz 30 Oct 70. [London], Oz, October 1970.\u003cbr\u003e\u003cbr\u003ePoster\/insert; (614 x 422 mm, 24¼ x 16½ in); Oz News printed in black-and-white on one side, Mike McInnerney's tribute to Jimi Hendrix in black and blue on the other, machine-folded three times, three shore edge-tears, near-fine.\u003cbr\u003e\u003cbr\u003e[and:] SCHNEEMANN, Carolee. Parts of a Body House Book. Cullumpton, Devon, Beau Geste Press, March 1972.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SCHNEEMANN, Carolee]. CROSSWAITE, David.","offers":[{"title":"Default Title","offer_id":49462621438257,"sku":"112744","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112744_6f0493c9-9c73-4224-bb06-2b2d9393f611.jpg?v=1790185619"},{"product_id":"mccain-adelman-the-right-to-vote-1962-112762","title":"The Right to Vote.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eFirst edition. \u003cem\u003eThe Right to Vote \u003c\/em\u003ewas published by the Congress of Racial Equality (CORE) to encourage voter registration and curtail the suppression of African American voters in the South. It explains the registration process, gives instructions on filling out a registration card, and explains what to do if an application is rejected. CORE was founded in 1942 by an interracial group of Chicago students who pioneered the use of nonviolent direct action in America's civil rights struggle. \u003cbr\u003e\u003cbr\u003eBetween 1962 and 1965, CORE and other groups, including the Student Nonviolent Coordinating Committee (SNCC), launched a concerted effort across the South that succeeded in registering a significant number of new voters. This placed political pressure on hesitant federal government officials to support potent voting rights statutes. The culmination of this pressure was the Voting Rights Act of 1965, a landmark piece of federal legislation in the United States. This act sought to overcome legal barriers at the state and local levels that prevented African Americans from exercising their right to vote, underscoring the importance of this issue.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBooklet (276 x 212 mm), pp.[20]. Black \u0026amp; white photographs by Bob Adelman, edited by Jim Peck, designed by Jerrold Goodman. Original white photo-illustrated wrappers printed in black, wire-stitched; oxidation to staples, minor handling, lightly marked. A near-fine copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"McCAIN, James T.; ADELMAN, Bob.","offers":[{"title":"Default Title","offer_id":49462621634865,"sku":"112762","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/112762_108b2742-e186-4187-a578-a0f34f04d232.jpg?v=1790191629"},{"product_id":"crosby-this-is-tomorrow-whitechapel-gallery-1956-114700","title":"This is Tomorrow.","description":"\u003ch4 class=\"srb-faux-head\"\u003epioneering multi-disciplinary exhibition which radically affected architectural and artistic practice in the 1950s\u003c\/h4\u003eCatalogue for the landmark exhibition at the Whitechapel Gallery (9 August - 9 September 1956), which signalled the birth of British Pop Art. 'This is Tomorrow' was organised by architect and writer Theo Crosby, who proposed an exhibition based on a model of collaborative art practice. The 38 participants included architects James Stirling, Alison and Peter Smithson, and Erno Goldfinger; artists Eduardo Paolozzi, Victor Pasmore, Sarah Jackson, Mary Martin, Nigel Henderson, Richard Hamilton and other members of the Independent Group; and architectural critic Reyner Banham formed 12 mixed groups who each worked together towards the production of an installation exploring the 'modern' way of living characterised by mass production, use of novel materials, and the daily maintenance of living space and the built environment.\u003cbr\u003e\u003cbr\u003eThe printed wrapper lists the exhibition's participants and the following statement:\u003cbr\u003e'An exhibition is to take place at the Whitechapel from 9th August to 9th September, 1956 which will result from the direct co-operation of architects, painters, sculptors and others.\u003cbr\u003eThe object of this exhibition is to explore the common ground between art and architecture and to search for that unity of vision and total sense of environment which alone can make further development possible. This exploration is one of ideas. To enlarge the existing art work to an architectural scale is, of course, meaningless.... As a point of departure for further experiment the exhibition should be valuable and controversial, and show a new interpretation of materials and space.'\u003cbr\u003e\u003cbr\u003eSuch an example of collaboration was still unusual at the time but provided a blueprint for a cross-disciplinary collaborative approach in architecture and art; the ripples of influence it created over 60 years ago still resonate today.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, one of 1300 copies; (165 x 165 mm, 6½ x 6½ in); illustrated throughout in black and white, design by Edward Wright slight age-toning to leaves; original spiral-bound printed covers, white and burgundy lettering to upper side, light wear to extremities, with an original kraft paper wrapper printed in black, near-fine; [126]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[THIS IS TOMORROW.] CROSBY, Theo (editor).","offers":[{"title":"Default Title","offer_id":55060850049399,"sku":"114700","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/114700_01_dcda97f5-f86b-4de9-89c3-d28136f29a91.jpg?v=1790186177"},{"product_id":"lucy-lippard-955000-first-edition-1970-115736","title":"955,000.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eCatalogue for the exhibition organised by Lucy Lippard at the Vancouver Art Gallery, January 13 to February 8, 1970, consisting of loose cards with a printed statement, documentation, or conceptual artwork by one of the contributing artists, which include Vito Acconci, Richard Artschwager, Michael Asher, John Baldessari, Robert Barry, Mel Bochner, Daniel Buren, Hanne Darboven, Walter de Maria, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, Joseph Kosuth, Barry Le Va, Sol LeWitt, Robert Morris, Bruce Nauman, Alan Ruppersberg, Robert Ryman, Ed Ruscha, Fred Sandback, Richard Serra, Robert Smithson, Jeff Wall, Lawrence Weiner and others.\u003cbr\u003e\u003cbr\u003e\u003cem\u003e955,000\u003c\/em\u003e is the second of four exhibitions, following \u003cem\u003e557,087\u003c\/em\u003e organised at the Seattle Art Museum (1969) and followed by \u003cem\u003e7,500\u003c\/em\u003e at the California Institute of Art, Valencia and \u003cem\u003e2,972,453\u003c\/em\u003e at the Centro de Arte y Comunicación, Buenos Aires. Each exhibition takes its name from the population of the city where it was held.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eExhibition catalogue; 138 printed cards, including title and blank rear cards (100 x 152 mm, 4 x 6 in); light wear to edges of several cards, minor toning, near-fine in the original worn manilla envelope.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"LIPPARD, Lucy.","offers":[{"title":"Default Title","offer_id":55060850540919,"sku":"115736","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/115736_463482ec-f472-46c8-a6a1-05015ee46219.jpg?v=1790191205"},{"product_id":"the-black-panther-party-merit-publishers-1966-120069","title":"The Black Panther Party.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eIncludes an introduction to the Black Panther Party by Elizabeth Barnes National Secretary of the Young Socialist Alliance, 'How the Black Panther Party Was Organized' a speech by John Hulett; 'A Report from Lowndes County' by John Benson, and Benson's interview with Stokeley Carmichael.\u003cbr\u003e\u003cbr\u003e\u003ci\u003ePamphlet (216 x 140 mm, 8½ x 5½ in), saddle-stitched, pencil notation stating 'Trotskyist' with an arrow pointing to the publisher's name on the inside cover, fine; 32pp (incl. covers).\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[CIVIL RIGHTS \u0026 BLACK IDENTITY.] [BLACK PANTHER PARTY.]","offers":[{"title":"Default Title","offer_id":55875571581303,"sku":"120069","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/120069_978164ba-8812-42c7-936f-85e05ed93ad8.jpg?v=1790169343"},{"product_id":"martin-luther-king-where-do-we-go-from-here-first-edition-122841","title":"Where Do We Go From Here: Chaos or Community?","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eKing's reflection on what he deemed 'the first phase of the American Civil Rights movement' from 1957 to 1967.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, first printing; 8vo; internally fine; publisher's quarter black cloth over yellow paper-covered boards, titles to spine gilt, yellow endpapers, MLK bookmark loosely inserted, with the unclipped pictorial dustjacket, slight dust-soiling, a few small nicks to extremities with associated creasing; a very good copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"KING, Martin Luther, Jr.","offers":[{"title":"Default Title","offer_id":56987777565047,"sku":"122841","price":375.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/122841_1c5925b2-62bb-49db-97a1-7c2a17f58c30.jpg?v=1790191551"},{"product_id":"113068","title":"Splitting.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eSplitting is the second of Gordon Matta-Clark's three artists' books. It documents one of his most famous works: the vertical bisection of an abandoned house in Englewood, New Jersey, owned by his dealers Holly and Horace Solomon and scheduled for demolition. The book consists of short descriptive texts, photographs, and photo collages which show the transformation of the building. Using a hand-held reciprocating saw Matta-Clark cuts two parallel lines one inch apart through all structural surfaces, then bevels down the cinder blocks at the base of the building and gently tips half of the structure back on its foundation. The final image is a three-panel folding plate depicting a composite cross-section of the house. The finished work stood for three months before the scheduled demolition.\u003cbr\u003e\u003cbr\u003e'Although it may appear modest and somewhat offhand, Splitting plays an important role in Matta-Clark's attempts to shape the complex activities of which it is part. As the scholar Anne M. Wagner has observed, the work's title can be understood to refer not just to the physical act of cutting the house in half but also to the strategic accumulation and dispersal of the project as a whole, its \"splitting\" into its various parts: action, photographs, a suite of collages, an artist's book. \"This collection of artifacts,\" writes Wagner,\"' should not be seen as merely indexing the artist's actions. On the contrary, each registers, defines, understands, revises, argues, and amplifies an emergent and fluctuating set of claims. What this means is that Splitting immediately split into a work that its maker recognized as something to be mediated in order to be explained and known... Each medium tells its separate tale\"'(Artists Who Make Books, 182).\u003cbr\u003e\u003cbr\u003e\u003ci\u003eArtists' book, oblong 4to (178 x 286 mm); black \u0026amp; white photographs and photocollages printed in offset, photographic plate printed in offset (398 x 267 mm) machine-folded twice and mounted to inside rear cover as issued, pencil note to first page; white wrappers printed in black, saddle-stapled and pasted into covers at spine, very minor toning at spine, a close to fine copy; [32]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eLailach, Printed Matter: Die Sammlung Marzona in der Kunstbibliothek \/ The Marzona Collection at the Kunstbibliothek (2005), 140; Moeglin-Delcroix, Esthétique du livre d'artiste 1960\/1980 (2012), 288-9; Roth\/Aarons, Artists Who Make Books (2017), 182-183, (92).","brand":"MATTA-CLARK, Gordon.","offers":[{"title":"Default Title","offer_id":57001143894391,"sku":"113068","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/113068_01_68f0693d-b205-46e5-ab15-9f7feac1bdb4.jpg?v=1790182700"},{"product_id":"john-baldessari-choosing-green-beans-1972-first-edition-111122","title":"Choosing: Green Beans.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eAn exhibited copy of this 1970s conceptual artists' book. In the introduction, Baldessari explains that \u003cem\u003eChoosing Green Beans\u003c\/em\u003e documents a game devised for two players: 'This work is part of a series of works about choosing. In this version a group of green beans was available from which to choose. A participant was asked to choose any three beans from the group for whatever reasons he\/she might have at that moment. A photograph was taken of the selection process. The chosen bean was carried over; the other two beans not chosen were discarded; two new beans were added. The next choice was made, and so on. Each of the participants develops strategies unknown to the other player as the selection process continues until all the beans are used.'\u003cbr\u003e \u003cbr\u003eThis copy has the ink stamp dated 27 Juli 1974 of the Art Information Centre (1969-1993), a non-profit organisation established by Peter van Beveren in Middelburg, Holland, which collected printed material related to contemporary art. The hole punched through one corner allowed the book to be suspended from the ceiling when exhibited.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition; 4to (296 x 207 mm, 11¾ x 8¼ in); colour photographs printed in offset, introduction by Baldessari in Italian and English, design by A. Sganzerla; side-stapled, printed card wrappers, text in black, lightly toned, light spotting, handling creases, hole punched through one corner to facilitate display in an exhibition, 'Art Information Centre' ink stamp on first page, a very good copy; [28]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eBook as Artwork 1960-1972 pp93; Esthétique du Livre d'Artiste 1960-1980 pp276; The Photobook A History II, pp146-7.","brand":"BALDESSARI, John.","offers":[{"title":"Default Title","offer_id":57001144385911,"sku":"111122","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/111122_40180f70-efa3-448e-b4e3-729c70e297ca.jpg?v=1790189572"},{"product_id":"guy-debord-society-spectacle-first-edition-english-1970-122675","title":"Society of the Spectacle.","description":"\u003ch4 class=\"srb-faux-head\"\u003e\u003c\/h4\u003eThe first English translation of the most recognisable Situationist text, Guy Debord's \u003cem\u003eSociety of the Spectacle\u003c\/em\u003e. Published by Freddy Perlman's radical Black and Red Press, the title rather brazenly declares the translation 'unauthorized'.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition in English; (219 x 136 mm, 8½ x 5½ in); numerous black \u0026amp; white in-text illustrations, errata leaf to rear as issued; wire-stitched black \u0026amp; white printed wrappers, toned with some marks, a very good copy.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"[SITUATIONIST INTERNATIONAL.] DEBORD, Guy.","offers":[{"title":"Default Title","offer_id":57463178920311,"sku":"122675","price":175.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/122675_01_ee5c2978-52b0-414b-a9dc-e2fabb3e11ee.jpg?v=1790188047"},{"product_id":"charles-henri-ford-spare-parts-presentation-copy-123441","title":"Spare Parts.","description":"\u003ch4 class=\"srb-faux-head\"\u003ePresentation copy\u003c\/h4\u003eFirst edition, a presentation copy, inscribed:\u003cbr\u003e\u003cbr\u003e'for Margie \u0026amp; Hal: \/ welcome aboard! \/ Charles Henri'.\u003cbr\u003e\u003cem\u003e\u003cbr\u003eSpare Parts \u003c\/em\u003eis the first published edition of Charles Henri Ford's paste-up poster poems (graphi-poems, or Fordographs), with boards designed by Stan Brakhage. In a contemporary advertisement for this book, Allen Ginsberg describes 'diction so common it's cut out of mass print, then shuffled on the table and recomposed according to Ford's private significances. Spare Parts is genitals. Awareness of the implicit bias and camp of marketplace yatter emerges after decades of unconscious commerce. What's further odd is the surreal charm of the phrasal juxtapositions; eccentric orthography of multitudinous type-fonts accentuates the charm: Ford is a practiced old connoisseur of XX Century ready-made speech. Everything from rosejoint to King Lear's unforgettable cry.'\u003cbr\u003e\u003cbr\u003eFord occupies an interesting position in twentieth-century American art and literary circles. He was a poet, artist, and filmmaker who, with Parker Tyler, edited and published View (1942-1947), the influential art and literary magazine. Ford befriended Andy Warhol in the early 1960s, and the two started attending film screenings together, with Ford introducing Warhol to Jack Smith and other underground filmmakers.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFirst edition, number 542 of 850 numbered copies and 100 hors de commerce copies numbered I - C, this copy inscribed by Charles Henri Ford in green pen on half-title; 4to (343 x 245 mm, 13½ x 9¾ in); collages, photographs, and paste-up poems printed as lithographs on various coloured paper stock, small abrasion to corner of first page, short tear to one leaf; illustrated endpapers, illustrated paper-covered boards designed by Stan Brakhage, light wear to extremities and bottom edge, top corners tapped, illustrated dust-jacket, wear to edges, chip to top edge of lower panel, an excellent in a good dust jacket; [160]pp.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e","brand":"FORD, Charles Henri.","offers":[{"title":"Default Title","offer_id":57467200307575,"sku":"123441","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0733\/4694\/1233\/files\/123441_01_70814a02-af53-4da1-a914-531a40254669.jpg?v=1790185748"}],"url":"https:\/\/shapero.com\/collections\/avant-garde-protest-the-long-sixties.oembed","provider":"Shapero Rare Books","version":"1.0","type":"link"}