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Auerhahn Press: Books & Pamphlets

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This index includes Auerhahn Press publications from 1958 through 1965: from Dave Haselwood’s first publishing venture through the dissolution of his partnership with Andrew Hoyem and the end of Auerhahn Press.

A. Auerhahn Press: Books & Pamphlets

1. Wieners, John. THE HOTEL WENTLEY POEMS
wieners_wentley1
San Francisco: Auerhahn Press, 1958
First edition, saddle-stapled illustrated wrappers, 6.25″ x 7.75″, 20 pages, circa 500 copies. Printed and edited without prior notice to Dave Haselwood by East West Printers. Cover photo by Jerry Burchard. Illustration by Robert La Vigne. Printed announcement issued.
(Auerhahn 1)

2. Wieners, John. THE HOTEL WENTLEY POEMS
wieners_wentley2
San Francisco: Auerhahn Press, 1959
Second revised edition, saddle-stapled illustrated wrappers, 6.25″ x 7.75″, 20 pages, 500 copies. Cover photo by Jerry Burchard. Illustration by Robert La Vigne.
(Auerhahn 2)

3. Lamantia, Philip. EKSTASIS
lamantia_ekstasisSan Francisco: Auerhahn Press, 1959
First edition, perfect-bound wrappers, 5.75″ x 7″48 pages, circa 950 copies. Titling by Robert La Vigne. Printed announcement issued.
(Auerhahn 3)

4. McClure, Michael. HYMNS TO ST. GERYON…
mcclure_hymnsSan Francisco: Auerhahn Press, 1959
First edition, perfect-bound illustrated wrappers, 7.25″ x 10″, 62 pages, 950 copies. Cover illustration by McClure.
(Clements A4, Auerhahn 4)


5. Lamantia, Philip and Antonin Artaud. NARCOTICA
lamantia_narcotica
San Francisco: Auerhahn Press, 1959
First edition, saddle-stapled illustrated wrappers, 6.25″ x 8.5″, 16 pages, 750 copies. Cover photographs by Wallace Berman. Published as “Auerhahn Pamphlet No. 1”. Printed announcement issued.
(Auerhahn 5)

6. Whalen, Philip. MEMOIRS OF AN INTERGLACIAL AGE
whalen_memoirsSan Francisco: Auerhahn Press, 1960
— A. First edition, perfect-bound in illustrated wrappers, 8.75″ x 11.25″, 64 pages, (1250 copies). Cover illustration by Robert La Vigne.
— B. First edition, hardcover, 8.75″ x 11.25″, 64 pages,  (60 copies with 25 signed and another 15 signed with holograph poem and illustration), bound by the Schuberth Bindery. Cover illustration by Robert La Vigne.
Printed announcement issued.
(Auerhahn 6)

7. Welch, Lew. WOBBLY ROCK
lew_wobblySan Francisco: Auerhahn Press, 1960
First edition, saddle-stapled printed wrappers, 6″ x 8″, 12 pages, 500 copies, illustrated by Robert LaVigne. Dedication: for Gary Snyder / “I think I’ll be the Buddha of this place” / and sat himself / down
(Auerhahn 7)

8. Burroughs, William S. and Brion Gysin. THE EXTERMINATOR
burroughs_exterminator
San Francisco: Auerhahn Press, 1960
First edition, perfect-bound in illustrated wrappers, 6.25″ x 9.25″, 64 pages, (1000 copies). Illustrated by Brion Gysin. Printed announcement issued.
(Maynard & Miles A4, Auerhahn 8)

9. Marshall, Edward. HELLAN, HELLAN
marshall_hellanSan Francisco: Auerhahn Press, 1960
First edition, saddle-stapled illustrated wrappers, 6″ x 8.75″, 24 pages, (750 copies). Illustrated by Robert Ronnie Branaman. Printed announcement issued.
(Auerhahn 10)

10. McClure, Michael. DARK BROWN
mcclure_darkbrownSan Francisco: Auerhahn Press, 1961
— A. First edition, perfect-bound printed wrappers, 6″x 9″, 56 pages, 725 copies.
— B. First edition, hardcover, 6″ x 9″, 56 pages, 25 numbered and signed copies, bound by the Schuberth Bindery.
Printed announcement issued.
(Clements A9, Auerhahn 13)

11. Olson, Charles. MAXIMUS FROM DOGTOWN
olson_maximusSan Francisco: Auerhahn Press, 1961
First edition, hand-sewn printed wrappers, 9″ x 11.25″, 12 pages, 500 copies. Foreword by Michael McClure.
(Auerhahn 14)


12. Reps, Paul. GOLD FISH SIGNATURES
San Francisco: Auerhahn Press, 1961
— A. First edition, Japanese binding, (1000 copies).
— B. First edition, Japanese binding, (50 copies in slipcase), signed.
Printed announcement issued.
(Auerhahn 15)

13. THE AUERHAHN PRESS CATALOGUE
auerhahn_catalogueSan Francisco: Auerhahn Press, 1962
First edition, saddle-stapled printed wrappers, 4″x 5″, 16 pages includes poems by Wieners and Meltzer.
(Auerhahn 17)


14. Lamantia, Philip. DESTROYED WORKS
lamantia_destroyedSan Francisco: Auerhahn Press, 1962
— A. First edition, perfect-bound illustrated wrappers, 7″ x 8.75″, 48 pages, 1250 copies.
— B. First edition, hardcover, 7″ x 8.75″, 48 pages, 50 numbered and signed copies, bound by the Schuberth Bindery.
(Auerhahn 18)

15. Meltzer, David. WE ALL HAVE SOMETHING TO SAY…
meltzer_weSan Francisco: Auerhahn Press, 1962
First edition, saddle-stapled illustrated wrappers, 6.25″ x 8.5″, 12 pages, 750 copies. Published as “Auerhahn Pamphlet No. 2”.
(Auerhahn 19)


16. Williams, Jonathan. IN ENGLAND’S GREEN &
williams_englandsSan Francisco: Auerhahn Press, 1962
First edition, hand-sewn printed wrappers, 6.5″ x 9.25″, 20 pages, 750 copies. Illustrated by Philip Van Aver.
(Auerhahn 20)


17. Spicer, Jack. THE HEADS OF THE TOWN UP TO THE AETHER
spicer_headsSan Francisco: Auerhahn Press, 1962
— A. First edition, perfect-bound illustrated wrappers, 4.75″ x 6.75″, 109 pages, 750 copies. Illustrated by Fran Herndon.
— B. First edition, hardcover, signed by the author and artist, with an original drawing, 4.75″ x 7.25″, 109 pages, 50 copies, bound by the Schuberth
Bindery. Illustrated by Fran Herndon.
Printed announcement issued. (Auerhahn 21)

18. Hoyem, Andrew. THE WAKE
hoyem_wakebSan Francisco: Auerhahn Press, 1963
— A. First edition, perfect-bound printed wrappers, 6″ x 8.5″, 30 pages, 750 copies.
— B. First edition, hardcover, signed, 6″ x 9″, 30 pages, 35 copies, bound by the Schuberth Bindery.
Three printed announcements issued.
(Auerhahn 22)

19. di Prima, Diane. THE NEW HANDBOOK OF HEAVEN
diprima_newSan Francisco: Auerhahn Press, 1963
— A. First edition, perfect-bound printed wrappers, 5.25″ x 7.5″, 48 pages, 1000 copies.
— B. First edition, hardcover, signed, 6″ x 9″, 30 pages, 30 copies, bound by the Schuberth Bindery.
(Auerhahn 23)

20. Brother Antoninus. THE POET IS DEAD
antoninus_poetSan Francisco: Auerhahn Press, 1964
First edition, hardcover, 8.25″ x 10.5″, 28 pages, 205 copies. Printed announcement issued. (Auerhahn 24)



21. Deemer, Bill. POEMS
deemer_poemsbSan Francisco: Auerhahn Press, 1964
— A. First edition, saddle-stapled illustrated wrappers, 6.25″ x 9.25″, 20 pages, 500 copies. Introduction by Andrew Hoyem.
— B. First edition, hardcover, signed, 6.5″ x 9.25″, 20 pages, 25 copies, bound by the Schuberth Bindery. Introduction by Andrew Hoyem.
Printed announcement issued.
(Auerhahn 37)

22. Davis, William. JANUS
davis_janusSan Francisco: The Auerhahn Society, Spring 1965
First edition, perfect-bound printed wrappers, 6.5″ x 9.75″, 64 pages,  750 copies.
(Auerhahn 38)



23. Van Buskirk, Alden. LAMI
San Francisco: The Auerhahn Society, 1965
(Auerhahn 39)

24. Olson, Charles. HUMAN UNIVERSE AND OTHER ESSAYS
olson_humanSan Francisco: The Auerhahn Society, 1965
First edition, hardcover, 7.75″ x 11″, 160 pages, 250 copies, bound by the Schuberth Bindery. Cover art by Robert La Vigne. Author photo by Kenneth Irby. Edited by Donald Allen.
(Auerhahn 40)

 

David Meltzer

beatphotolg
Wallace Berman, Papa’s Got a Brand New Bag, 1964. Mixed-media collage

 

 

David Meltzer was born in Rochester, New York, and raised in Brooklyn. He began his literary career during the San Francisco Beat and Berkeley Renaissance period in California, and his work was included in the anthology, The New American Poetry 1945-1960. At the age of 20 he recorded his poetry with jazz musicians in Los Angeles and also became a singer-songwriter and guitarist for several bands during the 1960s, including The Serpent Power. He is the author of over 40 volumes of poetry, and has also published fiction and essays, and has edited numerous anthologies and collections of interviews.

Meltzer taught in the humanities and poetics programs at the New College of California in San Francisco for 30 years. In 2008, he received the Foundation for Contemporary Arts Grants to Artists Award. He was also given the Bay Area Guardian’s Lifetime Achievement Award, and in 2012 was nominated for the Northern California Book Award in Poetry.

Diane di Prima has said, “David Meltzer is a hidden adept, one of the secret treasures on our planet. Great poet, musician, comic; mystic unsurpassed, performer with few peers.”


A. Books and Broadsides

1. Meltzer, David. POEMS
San Francisco: Donald & Alice Shenker, [1957]
First edition, side-stapled sheets in printed wrappers with library tape binding, 25 copies, offprint of David Meltzer / Donald Shenker book comprising only the Meltzer section and with a variant cover omitting Shenker’s name and a revised colophon.

2. Meltzer, David. RAGAS
San Francisco: Discovery Books, 1959
First edition, saddle-stapled printed wrappers, 52 pages, (1500 copies). Cover design by Peter LeBlanc.

3. Meltzer, David. THE CLOWN
Larkspur: Semina, 1960
First edition, printed sheets laid into printed folder, 335 copies.

4. Meltzer, David. WE ALL HAVE SOMETHING TO SAY TO EACHOTHER
San Francisco: Auerhahn Press, 1962
First edition, saddle-stapled illustrated wrappers, 6.25″ x 8.5″, 12 pages, 750 copies. Published as Auerhahn Pamphlet No. 2.
(Auerhahn 19)

5. Meltzer, David. BAZASCOPE MOTHER
Los Angeles: Drekfesser Press, [1964]
First edition, single sheet folded once, 250 copies

6. Meltzer, David. STATION
San Francisco: San Francisco Arts Festival Commission / East Wind Printers, 1964
First edition, broadside, 13″ x 20″, 300 copies. Illustrated by Peter Bailey.

7. Meltzer, David. THE BLACKEST ROSE
Berkeley: Oyez, 1964
First edition, broadside, 11″ x 17.5″, 350 copies, printed by Auerhahn Press and published as Oyez 6.

8. Meltzer, David. THE PROCESS
Berkeley: Oyez, 1965
First edition, saddle-stapled printed french-fold wrappers, 44 pages, 500 copies (25 numbered and signed in boards and dust jacket), the first Oyez book designed by Dave Haselwood and printed by Graham Mackintosh. Cover illustration by  Peter LeBlanc.

The Dark Continent (1967)
Round the Poem Box (1969)
Yesod (Trigram, 1969)
Greenspeech (1970)
Luna (Black Sparrow, 1970)
Hero/Lil (Black Sparrow, 1973)
Bark, A Polemic (Capra Press, 1973)
The Eyes, The Blood (Mudra / Cranium Press, 1973)
Blue Rags (Oyez, 1974)
Harps (Oyez, 1975)
Six (Black Sparrow, 1976)
Arrows: Selected Poetry, 1957-1992 (Black Sparrow Press, 1994)
No Eyes: Lester Young, (Black Sparrow, 2000)
David’s Copy, (Penguin Group Press, 2005)
When I Was a Poet,” (City Lights, June 2011)
Two-Way Mirror City Lights


B. Contributions to Periodicals

1. PENINSULA
Gainesville: University of Florida, 1956
“4 July”

2. SEMINA, No. 1
Los Angeles: Wallace Berman, 1956
“An Unpublished Letter to Some Lost Relatives”

3. DAZZLE
San Francisco: Playgirl Publishing, 1957
“Kick Me Deadly”

4. SEMINA, No. 2
San Francisco: Wallace Berman, 1957
“Upon a Time”

5. SEMINA, No. 4
San Francisco: Wallace Berman, 1959
“Sampson Agonistes”

6. SPREE, Vol. 1, No. 7
Los Angeles: New Publishing Company, 1959
“Judgement Day”

7. PENNY POEMS, No. 27
New Haven: Penny Poems, 1959
“24th Raga/ For Tina”

 

Auerhahn Press

 

 

 

 

 

 

A. Auerhahn Press: Books & Pamphlets 1958-1965
B. Auerhahn Press: Broadsides 1959-1965
C. Auerhahn Press: Commissioned Publications 1961-1965
D. Dave Haselwood Books 1965-1969

While stationed with the U.S. Army in Germany during the 1950s, David Haselwood conceived the idea of becoming a publisher. At the time he was corresponding with his friend Michael McClure (also a native of Wichita, Kansas) who was living in San Francisco. McClure’s first book of poems, Passage (1956), was being published by Jonathan Williams’ Jargon Press. “Jonathan was having books printed in Germany because of the high quality and low cost,” Haselwood says, “and I began looking into things.”

When Haselwood was released from the Army, he came to live in San Francisco. According to Haselwood, “During the summer of 1958 I drifted around San Francisco talking endlessly with painters such as Robert LaVigne and Jesse Sharpe and poets [Philip] Lamantia, [Michael] McClure, [John] Wieners, and reading all the live poetry and prose I could get my hands on. It was at this time that it occurred to me that the press could mean a great many things … ” From this intense exposure to the active literary scene in the Bay Area grew the desire to see these writers published without the great delays imposed by larger printing establishments.

A short while later in 1958 appeared the first publication of the Auerhahn Press, John Wieners’s The Hotel Wentley Poems. After this initial experience, in which the actual printing was done by a commercial printer (and edited by the printer without Haselwood’s knowledge), Haselwood was convinced that he should not only design all future books himself, but also print them: “The first and final consideration in printing poetry is the poetry itself. If the poems are great they create their own space, the publisher is just a midwife during the final operation…” With this ideal in mind, Haselwood tackled the publication of Philip Lamantia’s Ekstasis, and went on to the printing of Michael McClure’s Hymns to St. Geryon.

Though its limited financial resources were drained by this last publication, the press continued its publication of controversial and avant-garde works, such as Lamantia’s pamphlet Narcotica.

Haselwood took on a partner, Andrew Hoyem, in 1961. By then, a number of Kansans had arrived in San Francisco — including Robert Branaman, who shared living quarters with Haselwood for a time, and Glenn Todd, who later worked as a pressman and editor at Arion Press, which Hoyem founded after an amicable dissolution of his Auerhahn interests in 1964. Todd remembers the partners at work at 1334 Franklin Street: “The Auerhahn was a small press in a small room. Andrew would be setting type, and Dave running the press, passing single sheets of paper through. They’d be in their blue printer’s aprons.” Branaman adds, “Dave looked like someone out of Dickens to me. His shop was a center for artists. It was a well-known center of the culture.”

Another of San Francisco’s cultural hot spots was the Batman Gallery, first owned by William Jahrmarkt, a.k.a. Billy Batman, whose art interests leaned to the visionary, the experimental and the mystical. According to Jack Foley in O Her Blackness Sparkles! The Life and Times of the Batman Art Gallery, 1960-65 (1995), the opening of the gallery was a “spectacular affair” and featured 99 pieces of Bruce Conner’s work. Auerhahn produced the announcement. In 1962, the gallery was sold to Michael Agron, a psychiatrist and University of California Medical Center associate professor who researched LSD as a therapeutic tool. Collaborating with Haselwood, Agron conceived of each exhibition’s announcement as a work of art. The first Agron show, Master-Bat, showcased the works of, among others, Conner and Branaman.

As the Beat scene faded with the ascent of Hippie culture, Haselwood continued to collaborate with artists on Dave Haselwood Books projects. He worked for a time at Arion Press and designed books for other presses, but his interest in publishing had waned by the close of the ’60s. It was time, he says, to choose another path.


References consulted:

Clay, Steven and Rodney Phillips. A SECRET LOCATION ON THE LOWER EAST SIDE: Adventures in Writing, 1960-1980
New York: New York Public Library / Granary Books, 1998

Clements, Marshall. A CATALOG OF WORKS BY MICHAEL MCCLURE, 1956-1965
New York: The Phoenix Book Shop, 1965

Johnston, Alastair. A BIBLIOGRAPHY OF THE AUERHAHN PRESS & ITS SUCCESSOR DAVE HASELWOOD BOOKS
Berkeley: Poltroon Press, 1976

Lepper, Gary M. A BIBLIOGRAPHICAL INTRODUCTION TO SEVENTY-FIVE MODERN AMERICAN AUTHORS
Berkeley: Serendipity Books, 1976

 

Michael McClure

Michael McClure was born in Marysville, Kansas, and raised there and in Seattle. Educated at the University of Wichita, the University
of Arizona, and San Francisco State College—where he
studied with poet Robert Duncan—he gave his first poetry reading in 1955, at the age of 22, alongside Allen Ginsberg. It was at this mcclure_sixgalleryreading at the Six Gallery where Ginsberg first read Howl.

McClure is the author of numerous collections of poetry and has written more than 20 plays and musicals, several television documentaries, and the song “Mercedes Benz,” which was made famous by singer Janis Joplin. His 1965 play “The Beard,” which depicts an imagined sexual encounter between Jean Harlow and Billy the Kid, gained notoriety when it was (unsuccessfully) brought to trial on charges of obscenity.


A. Books and Broadsides

1. McClure, Michael. PASSAGE
mcclure_passageBig Sur: Jonathan Williams – Publisher, 1956
First edition, sewn wrappers, 7.25″ x 10.75″, 12 pages, 200 copies. Cover by Jonathan Williams. Published as Jargon 20. Printed by the Windhover Press. (Clements A1)


2. McClure, Michael. PEYOTE POEM
(San Francisco): Wallace Berman, 1958.
First edition, folded broadside tipped into folder, 9″ x 12″, 200 copies. Published as SEMINA 3. (Clements A2)

3. McClure, Michael. FOR ARTAUD
mcclure_forartaudNew York: Totem Press, 1959
First edition, illustrated wrappers, 5.5″ x 8.5″, 12 pages, (750) copies. Published as Blue Plate #2. (Clements A3)



4. McClure, Michael. HYMNS TO ST. GERYON AND OTHER POEMS
mcclure_hymnsSan Francisco: Auerhahn Press, 1959
First edition, perfect-bound illustrated wrappers, 7.25″ x 10″, 62 pages, (950) copies. Cover illustration by McClure. (Clements A4, Auerhahn 4)


5. McClure, Michael. !THE FEAST!
San Francisco: The Batman Gallery, 1960. (Clements A6)

6. McClure, Michael. THE NEW BOOK / A BOOK OF TORTURE
New York: Grove Press, 1961
First edition, perfect-bound wrappers, 64 pages, (4,000) copies. Photo of McClure on rear wrapper by Wallace Berman. (Clements A7)

7. McClure, Michael. PILLOW
New York: New York Poets Theatre, 1961. (Clements A8)

8. McClure, Michael. DARK BROWN
mcclure_darkbrownSan Francisco: Auerhahn Press, 1961
First edition, 750 copies (725 in wrappers; 25 in boards, bound by the Schuberth Bindery, numbered and signed), 56 pages. (Clements A9)



9. McClure, Michael. MEAT SCIENCE ESSAYS
San Francisco: City Lights Books, 1963
First edition, perfect-bound wrappers, 84 pages, (3,000) copies. (Clements A10)

10. McClure, Michael. TWO FOR BRUCE CONNER
(San Francisco): Oyez Press, 1964
First edition, broadside. Published as Oyez #1, printed by Auerhahn Press. (Clements A12)

11. McClure, Michael. POERTRY IS A MUSCULAR PRINCIPLE
(Los Angeles): n.p. [privately printed], n.d. [circa 1964]
First edition, broadside. Photograph of McClure by Wallace Berman. (Clements A13)

12. McClure, Michael. BLUE-BLACK...
(Los Angeles): n.p. [privately printed], n.d. [circa 1964]
First edition, broadside. (Clements A14)

13. McClure, Michael. THE BLOSSOM: OR BILLY THE KID
mcclure_blossomNew York: American Theatre for Poets, 1964
First edition, stapled sheets, 8.5″ x 11″, 26 pages. (Clements A15)




14. McClure, Michael. GHOST TANTRAS
San Francisco:  n.p. [privately printed], 1964
First edition, 1500 copies (1480 in wrappers; 20 in boards, and signed), 108 pages. Cover photo of McClure by Wallace Berman. (Clements A16)

15. McClure, Michael. DOUBLE MURDER! VAHROOOOOOOHR!
(Los Angeles): (Wallace Berman), 1964
First edition, broadside, (200) copies. Published as SEMINA 9. (Clements A17)

16. McClure, Michael. LOVE LION, LIONESS
mcclure_lovelion(San Francisco):  n.p. [privately printed], n.d. (1964)
First edition, broadside in two states (350 copies poster size, 70 copies letter size) issued with tickets printed for the fictitious event. (Clements A18)

17. McClure, Michael. 13 MAD SONNETS
mcclure_13madMilan: East 128, 1964
First edition, saddle-stapled sheets in printed dust jacket, 8.5″ x 11″, 28 pages, 315 copies (299 numbered for sale). Photographs of McClure by Ettore Sotsass Jr. (Clements A19)


18. McClure, Michael. THE BEARD
(San Francisco):  n.p. [privately printed], 1965
First edition, perfect-bound wrappers, 71 pages, 350 copies (planned, 330 produced). (Clements A20)

19. McClure, Michael. POISONED WHEAT
mcclure_poisoned(San Francisco):  n.p. [Oyez Press], 1965
First edition, saddle-stapled illustrated wrappers. 5.75″ x 7.75″, 16 pages, 600 copies (576 in wrappers; 24 in boards bound by Dorothy Hawley, lettered and signed).



B. Contributions to Periodicals

1. POETRY, Vol. 87, No. 4, January 1956
mags_poetry8704“2 FOR THEODORE ROETHEKE: PREMONITION”.
This is McClure’s first appearance in print. (Clements C1)



2. SEMINA, Two, 1957
mags_semina02
“I WANTED TO TURN TO ELECTRICITY”
(Clements C2)





3. ARK II / MOBY I, 1956-57
mags_ark2“CANOE: EXPLICATION”, “LOGOS: KNOUT”
McClure co-edited this issue. (Clements C3)





4. EVERGREEN REVIEW, Vol. 1, No. 2, 1957
mags_evergreen0102“NIGHT WORDS: THE RAVISHING”, “CAT’S AIR”, “THE RUG”, “THE”, “NOTE”, “THE ROBE”
(Clements C5)




5. BLACK MOUNTAIN REVIEW, No. 7, Autumn 1957
mags_blackmtn7“POEM”
(Clements C6)





6. MEASURE, No. 2, Winter 1958
mags_measure2THE MAGAZINE COVER…“, “ONE”, “TWO”
(Clements C7)





7. CHICAGO REVIEW, Vol. 12, No. 1, Spring 1958
mags_chicagoreview1201“THE MESS”, “7/26/57”, “LESS THAN VANITY”, “THE BREECH”
(Clements C8)





8. EVERGREEN REVIEW, Vol. 2, No. 6, Autumn 1958
“ODE TO JACKSON POLLOCK”
(Clements C9)

9. YUGEN, 4, 1959
mags_yugen4“THE CHAMBER”
(Clements C11)





10. JABBERWOCK, 1959
mags_jabberwock“FOR ARTAUD”, “A FANTASY AND COURTLY POEM”, “ODE FOR SOFT VOICE”
(Clements C12)




11. YUGEN, 5, 1959
mags_yugen5“RANT BLOCK”
(Clements C13)





12. SEMINA, 4, 1959
“WE’RE IN THE MIDDLE OF A DEEP CLOUD”
(Clements C14)

13. THE GALLEY SAIL REVIEW, Vol. 2, No. 1, Issue No. 5, Winter 1959-1960
mags_galleysail5“L’ETOILE”
(Clements C15)





14. SIDEWALK, Vol. 1, No. 1, 1960
“THE FLOWER OF POLITICS”
(Clements C16)

15. SEMINA, 5, 1960
“WE ARE IMPERVIOUS AS THE SKIN OF OUR DREAMS”
(Clements C17)

16. BIG TABLE, Vol. 1, No. 4, Spring 1960
mags_bigtable14“TWO POEMS FROM A SMALL SECRET BOOK”
(Clements C18)





17. YUGEN, 6, 1960
mags_yugen6“THE COLUMN”
(Clements C19)





18. BEATITUDE, No. 17, Oct-Nov 1960
mags_beatitude17“OH WHY OH WHY THE BLASTED LOVE THE HUGE SHAPE CHANGE?” from DARK BROWN
(Clements C20)



19. THE FLOATING BEAR, No. 1, February 1961
“THE SMILE SHALL NOT BE MORE MUTABLE THAN THE FINAL EXTINCTION OF MEAT”
(Clements C21)

20. NOMAD, 9, Summer 1961
mags_nomad9“HIGH & FROM A NOTEBOOK”
(Clements C22)





21. THE FLOATING BEAR, No. 14, Fall 1961
“!THE FEAST!”
(Clements C24)

22. THE OUTSIDER, Vol. 1, No. 1, Fall 1961
mags_outsider01“SPONTANEOUS HYMN TO KUNDALINI”
(Clements C25)





23. EVERGREEN REVIEW, Vol. 5, No. 20, Sep-Oct 1961
“ON SEEING THROUGH SHELLEY’S EYES THE MEDUSA”
(Clements C26)

24. JOURNAL FOR THE PROTECTION OF ALL BEINGS, No. 1, 1961
“REVOLT”
(Clements C27)

25. KULCHUR, Vol. 2, No. 8, Winter 1962
mags_kulchur8“PHI UPSILON KAPPA”
(Clements C28)




26. FOOT, No. 2, 1962
mags_foot2“THE SURGE”
(Clements C29)





27. PA’LANTE, No. 1, May 1962
“FIDELIO”, “TWIGS”
(Clements C30)

28. EL CORNO EMPLUMADO, No. 3, July 1962
“DEAR JANE”, “DRUNK WRITING”
(Clements C31)

29. ORIGIN, Second Series, No. 6, July 1962
mags_origin26“THE HELD BAK PAIN”
(Clements C32)





30. EVERGREEN REVIEW, Vol. 6, No. 25, Jul-Aug 1962
“DRUG NOTES”
(Clements C33)

31. FUCK YOU / A MAGAZINE OF THE ARTS, No. 4, Aug 1962
“THE MIND PAIN COMES OVER ME AND I AM BLUNKED”
(Clements C 34)

32. THE NATION, Vol. 196, No. 3, Jan 1963
“THE HUMAN FACE”
(Clements C35)

33. SEMINA, 8, 1963
“GHOST TANTRA (NO. 14)”
(Clements C36)

34. THE OUTSIDER, Vol. 1, No. 3, Spring 1963
mags_outsider03“THREE MAD SONNETS”
(Clements C37)





35. POETRY, Vol. 102, No. 3, June 1963
“THE CHILD”, “TWO MAD SONNETS”
(Clements C38)

36. ART FORUM, Vol II, No. 1, July 1963
“DOG STAR MAN”
(Clements C39)

37. CITY LIGHTS JOURNAL, No. 1, 1963
“NOTES ON A MINIATURE DRAMA”
(Clements C40)

38. NORTHWEST REVIEW, Vol. 6, No. 4, Fall 1963
“ARTAUD: PEACE CHIEF”
(Clements C41)

39. FUCK YOU / A MAGAZINE OF THE ARTS, No. 5, Vol. 4
“FUCK ESSAY”
(Clements C42)

40. NOW, 1963
mags_now“I, MICHAEL MCCLURE”, “BLACK AND YELLOW: PANSY”
(Clements C43)




41. EVERGREEN REVIEW, Vol. 8, No. 32, Apr-May 1964
“THE GROWL”
(Clements C44)

42. JOGLARS, Vol. 1, No. 1, Spring 1964
mags_joglars11“STANZA 13” from LOVE LION BOOK
(Clements C46)





43. FILM CULTURE, No. 32, Spring 1964
“DEFENSE OF JAYNE MANSFIELD”
(Clements C47)

44. GNAOUA, No. 1, Spring 1964
mags_gnaoua1“THE BEST SOUND: NINE POEMS”
(Clements C48)





45. CLEFT, Vol. 1, No. 2, May 1964
mags_cleft12“GHOST TANTRA 50”
(Clements C49)





46. KULCHUR, Vol. 4, No. 14, Summer 1964
“REASON”
(Clements C50)

47. IMAGO, No. 1, 1964
“THREE POEMS FROM THE BEAST SOUND”
(Clements C51)

48. FUCK YOU / A MAGAZINE OF THE ARTS, No. 5, Vol. 7, Sep 1964
“AIRS FROM A FORGOTTEN BOOK”
(Clements C52)

49. NOW NOW, 1965
“LOVE LION, LIONESS”
(Clements C53)

50. DIMAS, 3, Feb 1965
“FOR ME”, “FOR A DRAWING BY BRUCE CONNER”, “ONLY SIMPLICITY”, “YOU — NEW TO ME”, “THE CONVERTIBLE”
(Clements C54)

51. THE SAN FRANCISCO KEEPER’S VOICE, Vol. 1, No. 2, Feb 1965
“GHOST TANTRA 15”
(Clements C55)

52. MY OWN MAG, No. 11, Feb 1965
“DREAM TABLES, NO. 1 & 2”
(Clements C56)

53. C, A JOURNAL OF POETRY, Vol. 1, No. 10, Feb 1965
“GHOST TANTRA #9”
(Clements C57)

54. FUCK YOU / A MAGAZINE OF THE ARTS, No. 5, Vol. 8, March 1965
“POEM CARDS”
(Clements C58)

55. FUX!, No. 1, Spring 1965
“WONDERSMITTEN! TRANCELIKE! PROFOND!”
(Clements 60)

56. SIGMA PORTFOLIO, No. 21, 1965
“REVOLT”
(Clements C61)


References consulted:

Clements, Marshall. A CATALOG OF WORKS BY MICHAEL MCCLURE, 1956-1965
New York: The Phoenix Book Shop, 1965

Johnston, Alastair. A BIBLIOGRAPHY OF THE AUERHAHN PRESS & ITS SUCCESSOR DAVE HASELWOOD BOOKS
Berkeley: Poltroon Press, 1976

Lepper, Gary M. A BIBLIOGRAPHICAL INTRODUCTION TO SEVENTY-FIVE MODERN AMERICAN AUTHORS
Berkeley: Serendipity Books, 1976

Wallace Berman – Solo and Select Group Exhibitions

Gallery, catalog, and ephemera information provided, when available…

1957

Ferus Gallery, Los Angeles, CA, USA


1965

Studio exhibition of Verifax Collages organized by Wallace Berman
Los Angeles, CA, USA


1967

Exhibition of Verifax Collages organized by Wallace Berman
Topanga Community House, Topanga, CA, USA


1968

Wallace Berman: Verifax Collages
September 17 – November 17, 1968
The Jewish Museum, New York, NY, USA: curated by Kynaston McSchine

Wallace Berman
berman_lacma
April 30-June 2, 1968
Los Angeles County Museum of Art, CA, USA
Printed brochure issued (pictured)
[the only printed documentation for the artist’s first solo museum exhibition]




1973

One-day exhibition organized by Wallace Berman
Mermaid Tavern, Topanga, CA, USA


1974

Radio Aether Series
berman_radioGemini G.E.L., Los Angeles, CA, USA
Portfolio of prints published, brochure issued (pictured)





1977

Wallace Berman
July – August. 1977
Timothea Stewart Gallery, Los Angeles, CA, USA
Catalog issued


1978

Wallace Berman
berman_whitneyJanuary 18 – March 5, 1978
Whitney Museum of American Art, New York City, USA




Wallace Berman Retrospective
berman_retrospectiveOctober 24 – November 26, 1978
Otis Art Institute, Los Angeles, CA, USA
Catalog issued





1979

Wallace Berman
April 11 – May 10, 1979
L.A. Louver, Los Angeles, CA, USA


1982

Wallace Berman
March 4 – 27, 1982
Charles Cowles Gallery, New York, NY, USA


1988

Different Drummers
May 12 – August 14, 1988
Hirshhorn Museum and Sculpture Garden, Washington D.C., USA

Works from the Estate
January 9 – January 30, 1988
L.A. Louver Gallery, Venice, CA, USA


1990

Wallace Berman, A Gesture Involving Verifax Collage, Photographs, Text and Sculpture
October 13 – November 10, 1990
Louver Gallery, New York, NY, USA


1992

Poem Makers: Wallace Berman, George Herms, and Jess
June 5 – July 12, 1992
L.A. Louver Gallery, Los Angeles, CA, USA
Catalog issued [Semina facsimile]

Wallace Berman
December 31, 1992 – February 7, 1993
The Institute of Contemporary Art, Amsterdam, The Netherlands
Catalog issued [Support the Revolution]


1999

Arranged Marriage
berman_arrangedOctober 28 – December 10, 1999
Roth Horowitz, New York City, USA
Catalog issued (pictured)

 


2000

“Art Is Love Is God”, une introduction, 1957 – 1976
June 17 – September 17, 2000
le Musée d’Art Moderne et Contemporain, Geneva, Switzerland
No catalog


2005

Aleph – A Film by Wallace Berman
January 04 – March 06, 2005
The Jewish Museum, New York City, NY, USA

Wallace Berman
Patricia Faure Gallery, Los Angeles, CA, USA
No catalog


2007

Wallace Berman – Photographs and Other Works
November 30, 2007- January 19, 2008
Michael Kohn Gallery, Los Angeles, CA, USA


2008

All is Personal: the Art of Wallace Berman
September 26 – November 23, 2008
Camden Art Center, London, UK
Catalog issued


2009

Verifax Collages
January 10 – March 10, 2009
Galerie Frank Elbaz, Paris, France: curated by Sophie Dannenmüller
Catalog issued

She – Works by Wallace Berman and Richard Prince
berman_kohnJanuary 15 – March 7, 2009
Michael Kohn Gallery, Los Angeles, CA, USA: curated by Kristine McKenna
Catalog issued, brochure issued (pictured)


2010

Bebop Kabbalah
October 30 – December 24
Galerie Frank Elbaz, Paris, France: curated by Sophie Dannenmüller
Catalog issued

Verifax
June 11 – July 24, 2010
Anne Mosseri-Mario Galerie, Zurich, Switzerland
No catalog issued

Wallace Berman
November 6 – January 9, 2010
Nicole Klagsbrun Gallery, New York, USA
Catalog issued


2011

Speakin in Tongues : The Art of Wallace Berman and Robert Heinecken
September 25 – December 31
Armory Center for the Arts, Pasadena, California, USA
Catalog issued

Wallace Berman

 berman_arranged

Wallace Berman was born in 1926 in Staten Island, New York. In the 1930s, his family moved to the Jewish district (Boyle Heights) in Los Angeles. After being expelled from high school for gambling in the early 1940s, Berman immersed himself in the growing West Coast jazz scene. During this period, he briefly attended the Jepson Art School and Chouinard Art School, but departed when he found the training too academic for his needs.

In 1949, while working in a factory finishing antique furniture, he began to make sculptures from unused scraps and reject materials. By the early 1950s, Berman had become a full-time artist and an active figure in the beat community in Los Angeles and San Francisco. Many art historians consider him to be the ‘father’ of the California assemblage movement. Moving between the two cities, Berman devoted himself to his mail art publication SEMINA, which contained a sampling of beat poetry and images selected by Berman.

In 1963, permanently settled in Topanga Canyon in the Los Angeles area, Berman began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976.

A. Solo and Select Group Exhibitions
B. Posters and Prints
C. Cover and Book Art
D. Semina

Further reading and reference:

ART AS A MUSCULAR PRINCIPLE, 10 Artists and San Francisco 1950-1965
Mount Holyoke College, 1975

ART IN LOS ANGELES: SEVENTEEN ARTISTS IN THE SIXTIES
Los Angeles: LACMA, 1981

ASSEMBLAGE IN CALIFORNIA: WORKS FROM THE LATE 50’S AND EARLY 60’S
Alhambra: Cunningham Press, 1968

DIFFERENT DRUMMERS, edited by Frank Gettings
Washington DC: Smithsonian Hirshhorn Museum and Sculpture Garden, 1988

LA POP IN THE SIXTIES, edited by Anne Ayres
Newport Beach: Newport Harbor Art Museum, 1989

SAN FRANCISCO RENAISSANCE PHOTOGRAPHS OF THE ’50S AND ’60S, edited and with an introduction by Merril Greene
NY: Gotham Book Mart Gallery, 1975

SECRET EXHIBITION: SIX CALIFORNIA ARTISTS OF THE COLD WAR ERA, edited by Rebecca Solmit
San Francisco: City Lights, 1990

SUPPORT THE REVOLUTION, edited by Tosh Berman, Michael McClure, David Meltzer, Colin Gardner, Walter Hopps, Christopher Knight, Eduardo Lipschutz-Villa, Charles Brittin
Amsterdam: Institute of Contemporary Art, 1992

THIRD RAIL, Issue 9, edited by Uri Hertz
Los Angeles: Third Rail, 1988

UTOPIA AND DISSENT: ART, POETRY, AND POLITICS IN CALIFORNIA, by Richard Cándida Smith
Berkeley: University of California Press, 1995)