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One Cent Life- 1964 Portfolio Exhibition    May 6 - Jun 30, 2006

Cover, (1 CENT LIFE Portfolio)
Roy Lichtenstein
Cover, (1 CENT LIFE Portfolio), 1963
 
Pages 144-145, (1 CENT LIFE Portfolio)
Jim Dine
Pages 144-145, (1 CENT LIFE Portfolio), 1964
 
Pages 104-105, (1 CENT LIFE Portfolio)
Sam Francis
Pages 104-105, (1 CENT LIFE Portfolio), 1964
 
Pages 78-83, (1 CENT LIFE Portfolio)
Sam Francis
Pages 78-83, (1 CENT LIFE Portfolio), 1964
 
Pages x-15, (1 CENT LIFE Portfolio)
Sam Francis
Pages x-15, (1 CENT LIFE Portfolio), 1964
 
Four Winds, (1 CENT LIFE Portfolio)
Robert Indiana
Four Winds, (1 CENT LIFE Portfolio), 1964
 
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ONE CENT LIFE 1964 PORTFOLIO EXHIBITION
May 6- June 30, 2006

Woodward Gallery is proud to present an extensive exhibition of the art from the First Edition 1964 ONE CENT LIFE Portfolio written by Walasse Ting, edited by Sam Francis, published by E.W. Kornfeld...

...The complete portfolio with 62 original lithographs by the following artists: Pierre Alechinsky (5 lithos); Karel Appel (5 lithos); Enrico Baj (2 lithos); Alan Davie (2 lithos), Jim Dine; Sam Francis (“Pink Venus Kiki” + 5 other lithos); Robert Indiana (2 lithos); Asger Jorn (2 lithos); Roy Lichtenstein (Cover + 1 litho); Joan Mitchell; Claes Oldenburg (3 lithos: “Parade of Women” + “All Kinds of Love 1 & 2”); Mel Ramos (2 lithos), Robert Rauschenberg (2 lithos); Jean-Paul Riopelle, James Rosenquist; Antonio Saura, Bram Van Velde; Andy Warhol (“Marilyn Monroe I Love Your Kiss Forever Forever”); Tom Wesselmann (2 lithos) and other American and European POP artists.

...176 pages with text in English, in silkscreened cloth boards with dust jacket, housed in cloth slipcase.....

“This ‘un-livre d’artiste’ is a unique combination of quintessential American Pop Art and European Expressionism with 62 lithographs.....This undertaking is the simple instance in which artists of two essentially contradictory philosophies of art were brought together in one unexpectedly cohesive book” - Riva Castleman...

“(Ting) wanted to publish the most international illustrated book, intended to illustrate his text, uniting tachisme, neo-dadaisme, pop art, and all other artistic movements. The idea was born from global experience, close contact with culture, pseudo-culture, primitive existential worries, urban erotic and eastern wisdom.. It was a Herculean task, for which only a Chinese would have been able to muster the perseverance” - E. W. Kornfeld.

Around Ting’s poems in “raunchy Pidgin English” were grouped 28 very different American and a few European painters. The pop artists formed the central core of the group. The book very quickly became the manifesto of a new generation of painters and the expression of the new pictorial research that they were engaged in....

- description excerpt from Gemini Fine Books & Arts, Ltd.

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