aldenprojects aldenprojects

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Alden Projects  Gallery presenting compelling contemporary art along side recent, historical art: telling stories that need to be told.

Last chance
to see this show!
Closes Sunday May 13th

Exhibition extended
through Sunday, May 13th
@aldenprojects

G. Matta-Clark et. al.
Poster (detail) announcing opening (“WE HOPE”!) of Food at 127 Prince Street. Don’t miss the #gordonmattaclark show closing tomorrow - Sunday - at #thebronxmuseum. You won’t see this poster there.....but you will encounter lots of other Bronx-busting work.

(BRUCE NAUMAN)
Read Bruce Nauman’s 1968 letter to The Letter Edged in Black Press about his contribution of an early sound work / multiple titled “Footsteps”; (the extraordinary work, “Footsteps” —signed by Bruce Nauman in 1968–is also present and for sale in this archival exhibition) @aldenprojects
#theletteralwaysarrivesatitsdestination #williamncopley #brucenauman #thisisnotart #loveforsale

#roylichtenstein “Folded Hat” (1968).
Published by artist-as-publisher, William N. Copley’s The Letter Edged in Black Press where Lichtenstein’s then future wife, Dorothy, worked in 1968 as an Editor along side Copley. Either a hat or a boat, the artist is said to have fashioned an early prototype for this playful conundrum out of paper—(perhaps newspaper in the manner of Curious George)—on a rainy day on his way uptown to visit his then-fiancée at The Letter Edged in Black Press, whose office was above Zabar’s on West 80th Street. This example from the signed deluxe edition of 100. Hat....or Boat? The letter always arrives at its destination! #dorothylichtenstein #williamncopley #aldenprojects

HOLLIS FRAMPTON
“Phenakistiscope” (1968)
(a.k.a “Phenakistiscope: The First True Cinema 1832- 1968”)
Come see Hollis Frampton’s 1968
film lasting 1 1/3 seconds @aldenprojects ! According to Frampton’s accompanying letter to W.N. Copley, this object (when viewed in and through a mirror between die-cut slots cut into in a spinning disk ) is both a projector and a film (when spun counter clockwise)! The left-of-the-dial ambition of this original multiple - included in the extraordinary portfolio, S.M.S. published by Copley and the subject of a new exhibition at #aldenprojects - characterizes Copley’s own ambitious publishing aims: “to emancipate the artist from the restrictions of format.”

CPLY (1959)
“Publishing the Portable Museum:
William N. Copley’s The Letter Edged in Black Press” opens Sunday 6 - 8 #aldenprojects

MÉRET OPPENHEIM
Detail from Oppenheim’s signed edition for The Letter Edged in Black Press (1968) with unique drawing (grass below!) @aldenprojects @independent_hq sixth floor #aldenprojects

MAN RAY
“The Father of Mona Lisa” (1968)
(detail) from the deluxe signed edition of William N. Copley’s S.M.S. @aldenprojects @independent_hq sixth floor #aldenprojects

YOKO ONO
“Mend Piece (for John)” 1967-68
Assembled by Billy B. Copley
“Take your favorite teacup
break it into many pieces with a hammer. Repair it with this glue and this poem.” Signed verso. Published by William N. Copley’s The Letter Edged in Black Press
@aldenprojects @independent_hq sixth floor
The letter *always* arrives at its destination.

Wallace Berman’s 1968
Verifax collage sent to
William N. Copley
at The Letter Edged in Black Press. On the verso, Berman writes to Copley, answering his invitation to contribute to the bi-monthly review, S.M.S. (1968): “Yes,” Berman writes. “When is the deadline for the newspaper format project?” Unfortunately, Berman either missed the 1968 deadline or S.M.S. stopped publishing artist’s editions before Berman had a chance to get around to realizing his. All that remains: this verifax collage and Berman’s promise sent through the mail @aldenprojects @independent_hq sixth floor. Do all letters arrive at their destination?

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