Barbara Kruger, No Progress in Pleasure

Barbara Kruger
No Progress in Pleasure. 
Buffalo: CEPA Gallery, 1982.

Thin 4to.; illustrated throughout in black and white; illustrated wrappers. Near fine.

First edition. This is the first artists' book Kruger created after developing her mature style. This work, consisting of stark black and white images combined with provacative text in an aggressive typeface (Futura Extra Bold Italic) quickly became her signature style and with it Kruger went on to produce some of the most iconic images of the 1980s. Kruger often presented her work outside the usual art world venues, frequently in public settings or in easily distributable mass media formats, including books, posters, billboards, and magazine covers. For Kruger the work was not simply imagery and content but instead consisted of the process of engaging the public with a critique of society.  This book was published with CEPA Gallery in Buffalo, a space that for several years in the 80s was among the most dynamic art venues in the world. During this time CEPA exhibited work and published artists books with John Baldessari, Sarah Charlesworth, Richard Prince, William Wegman, Laurie Simmons, and James Casebere, along with Kruger and others.
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George Brecht cc V TRE


Brecht, George et al. Fluxus No.1, January, 1964. New York: Valise Entrangle, 1964.

Folio; illustrated in black and white; minimal chipping at the outer edges and a very small loss at one corner which does not affect any text or imagery. Near fine.   

First edition. The first issue of the Fluxus Newspaper, aka V TRE, aka cc V TRE, aka… Brecht’s Fluxus periodical has as many variant titles as there were issues. Often known simply as V TRE, this first issue is called ccV TRE while later issues have the letters “V,” “T,” “R,” and “E” embedded in longer phrases, e.g.: “Fluxus Vacuum TRapEzoid,” “Fluxus Vaudeville TouRnamEnt,” “3 newspaper eVenTs for the pRicE of $1,” and “Fluxus Vaseline sTREet.” This publication was a group endeavor which includes work by several of Brecht’s fellow travelers in Fluxus but the editorial principle of the newspaper is Brecht’s notion that “experience in every dimension” could be expressed in printed text, or as “event scores.” An unfolded, unmailed copy; very scarce in this condition.
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