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Bill Clarke Collection

Art, Book, Art, Record

JOHN STEZAKER, Untitled, 2014. Fom the series “Tabula Rasa”, edition of 25, signed and numbered. Produced by The Photographer’s Gallery, London. This work is part of a theme that is emerging in the collection, that is artworks asking the viewer to use their imagination to ‘fill in the blanks’.

JOHN STEZAKER, Untitled, 2014. Fom the series “Tabula Rasa”, edition of 25, signed and numbered. Produced by The Photographer’s Gallery, London. This work is part of a theme that is emerging in the collection, that is artworks asking the viewer to use their imagination to ‘fill in the blanks’.

Bill Clarke weaves a thread through several of his collecting passions – art, books and records – to illustrate how different collections can thematically and visually relate to one another.

PETER BLAKE, Babe Rainbow, 1968, screen-print on tin, edition of 10,000

JOHN LENNON, 'Instant Karma (We All Shine On)', picture sleeve for 1971 U.S. single. The chorus of the song goes: 'We all shine on/like the moon and the stars and the sun.'

PETER BLAKE is most famous for designing the cover of the Beatles’ album "Sgt. Pepper’s Lonely Hearts Club Band". First U.S. pressing with inner sleeve and cut-outs insert (1967)

MICHAEL DUMONTIER, Untitled (Sunrise), 2008. A collage on panel work that looks like a sunrise over a minimalist horizon, and also a record coming out of its sleeve

LETHA WILSON: Moondrop (2010), cut photograph

ART BLAKEY & THE JAZZ MESSENGERS, (Columbia), 1956, the record Butler used as the basis for the preceding photo-collage

PAUL BUTLER, Untitled, 2015. Photo collage from the series "Words Fall Short"

ALLEN RUPPERSBERG. From the series "El Segundo Record Club", 2015. Hand-made record containing the song 'Hesitation Boogie' by the Mary-Lou Williams Trio, signed and numbered edition of 15 with each sleeve featuring a different collaged image

CHRISTIAN MARCLAY, Slipmats, 2005. Two turntable slipmats with sonograms of the artist’s hands; from a signed and numbered edition of 50

JONATHAN MONK, The Reason Why I Am Here Is The Reason Why I Am Here, 2007. Here, the artist affixed a mirror inside the gatefold of Morrissey’s album 'You Are the Quarry', signed and lettered - A to Z - edition of 26.

ELIZABETH ZVONAR, Proclivities, 2009. Photo-collage; an image of David Bowie lied buried beneath the artist’s photo-collage

'The Man Who Fell to Earth' by Walter Tevis (Avon Paperbacks, 1976); David Bowie played the lead character in the film version of the book

ANDY WARHOL, Andy Warhol’s Index Book (Random House, 1967), opened to the spread where a flexi-disc by The Velvet Underground (picturing Lou Reed’s face) is attached

ED RUSCHA, Records, 1971. Edition of 1 000 copies, opened to the pages with the album 'White Light/White Heat' by The Velvet Underground, the band discovered by Andy Warhol

ROBERT INDIANA, Gertrude S., 1977, one of 13 prints produced by Pop artist Robert Indiana (signed and numbered edition of 150, with 36 A/Ps) of costume designs he made for the Santa Fe Opera company’s 1976 production of Gertrude Stein and Virgil Thompson’s opera 'The Mother of Us All', which tells the story of Susan B. Anthony and the suffragette movement in the U.S.

SANTA FE OPERA COMPANY, The Mother of Us All (New World Records), 1976. Cover art by Robert Indiana.

GENERAL IDEA, AIDS stamps (Parkett,) 1988. Robert Indiana did a poor job of copyrighting LOVE so many artists co-opted it, including the Canadian collective General Idea (AA.Bronson, Jorge Zontal and Felix Partz). General Idea’s “AIDS” appeared at the height of the crisis in the late 1980s/early 90s, and Zontal and Partz succumbed to the disease in 1994. “AIDS” appeared in several formats: as wallpaper, posters, paintings, a sculpture and these stamps. AIDS decimated gay communities across North America while the government did nothing

ROBERT INDIANA, Trilove (Bouwerie Editions), 1969. Edition of 210 signed and numbered copies, showing a variation of Indiana’s iconic LOVE graphic

ANNETTE MESSAGER, Les Tortures Volontaires, 1974. Artist’s book, edition of 600. While there is a charming kitsch element to Playboy’s calendars of the 60s and 70s, artists like Messager were critiquing the sexist and objectifying portrayals of women in the media. This books consists of found images of women undergoing an array of strange beauty and fitness treatments

DOROTHY IANNONE, The Story of Bern, 1970. Artist’s book, signed and numbered edition of 500. This book tells the story of how Iannone’s sexually explicit paintings were removed from a group show at the Kunsthalle Bern in 1969. Artist Dieter Roth, her partner in life and art at the time, supported her by removing his works from the show

VANESSA MALTESE, Untitled, 2012

JESSICA EATON, cfaal #254, 2012. From the series “Cubes for Albers and Lewitt)”, edition of 20 (+3 APs)

SUSY OLIVEIRA, Your Face/Like a Lone Nocturnal Garden/In Worlds Where Suns Spin Round, 2009. From a series of found vintage images of gay and straight male porn stars who resemble men the artist knows

KALUP LINZY, Giant Dream Face of Adrian Ellis (ink and collage on paper), 2008

Modern Male (autumn 1970) a gay American publication from the early 1970s barely disguised as a health-and-fitness magazine.

JENNIFER MURPHY, Untitled (collage), 2015. From a body of work that combined vintage images of nude women (usually from instructional photography manuals) with flowers and plants

DEVIN TROY STROTHER, “Guuuuurl, you never told me you was Jewish, tho," said Maurice to Madeline”, 2013. References to both traditional still-life and odalisque painting, but also pokes fun at the notion that Jewish women are strongly attracted to Black men

Playboy Playmate calendar, 1972

DIETER ROTH, Collected Works, vol. 1 (Children’s Books no. 1 and no. 2), Hansborg Mayer, 1976. Edition of 1 000 copies

TAMMI CAMPBELL, Untitled, from the series “Works in Progress", 2013

JENNIFER MARMAN AND DANIEL BORINS, Circles Drawing 2010

LAURE PROUVOST, Ideally this print… ,2014. Edition of 40, signed and numbered. Produced by Whitechapel Gallery, London. Again, Prouvost, in this print as in her ongoing series of “Ideally” paintings, asks viewers to use their imaginations to complete the work

Toronto (4)

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