William S. Burroughs, Untitled Cut-Up in David Budd rencontre William Burroughs et Earle Brown chez Rodolphe Stadler exhibition catalogue.

A SILENT SUNDAY TO THE POST OUR FLAT AT HALF MAST AGAINST TALL BLACK WINDOWS OF THE DORMITORY. / ‘I WILL SING FOR YOU AND I HAVE MAYBE UNDRESSED THERE AND I AM FACE WHERE TIME HAS NEVER WRITTEN’ / A DISTANT VOICE SO PAINFUL TO SCAN OUT / ‘ENEMY INTERCEPTED SEPTEMBER 17, 1899 OVER NEW YORK.’ KLINKER ID DEAD. I KNEW HIM. HAD NO LUCK.

LAST GLIMPSE OF A SAD TOY ARM PAID ALL OUR STRENGTH CLICK OF DISTANT HEELS OVER THE HILLS AND FAR AWAY… “REMEMBER LASTER GUNS ‘WASHING’ FROM HIS STUMP OF AN ARM THE WHOLE SKY BURNING THIS SAD STRANGER NEVER CALLED RETREAT, MISTER.”

WASN’T ANYTHING TO SAY. “MR. BRADLY MR. MARTIN” STOOD THERE ON DEAD STARS HEAVY WITH HIS DUSTY ANSWER DREW: ‘SEPTEMBER 17, 1899’ OVER NEW YORK THAT MORNING GIVING YOU MY TOY SOLDIERS PUT AWAY TRAIN WHISTLES ACROSS THE GOLF COURSE STEPS TRAILING A LONELY DINING ROOM WORLD I CREATED EMPTY NOW LIGHT YEARS OF YOUTH FLAPPING DOWN A

TORN SKY IN THE ASHEN WATER FRAYED STARS OF YOUTH THERE ACROSS THE PLAYGROUND AGAINST TALL BLACK WINDOWS OF THE DORMITORY FAR OUT ALONG A LUMINOUS SKY LAST GLIMPSE OF A SAD TOY SOLDIER HAND LIFTED

DISTANT STUMP OF AN ARM DREW ACROSS THE SKY ‘ENEMY INTERCEPTED OVER NEW YORK’ JUST TELLING YOU LASER GUNS ‘WASHING’ A DISTANT SOLDIER SPIT BURNING BLOOD FOR YOU HERE ACROSS THE VALLEY CLEAR AS THE LUMINOUS SKY OUR FLAG IS STILL THERE A TRANSITORY MAGAZINE MUST TELL YOU THE PRICE IN SMOKE.

“TELLING ME / LASER GUNS ‘WASHING’ EGG NOG’ RUNNING TWO STRAINERS CLOSED DOWN ‘COBBLE-STONE CODY / ANY-POST-SHIT-BIRDS, LET’S SEE YOUR ARMS. / BURNING STUMP OF MINE JUST TELLING YOU CLEAR AS THE SKY.

“WE CAN BREAK RADIO SILENCE NOW. ‘ANNIE LAURIE’ WAS A CODE TUNE JUST LIKE ‘ENEMY INTERCEPTED SEPTEMBER 17, 1899 OVER NEW YORK.’ THE PIPER PULLED DOWN THE SKY. NOW HE DIDN’T GO A LOOKING FOR TO SHOW YOU THE PAPERS CLEAR AS ‘ANNIE LAURIE’ IN ANY NABORHOOD BAR. LOOK, REMEMBER FEEL HIS FACE WASH ‘EGG NOG.’ FOR HALF A LINE NO REPEAT

TORN SEPTEMBER SKY JUST TELLING YOU BOY SOLDIER NEVER CALLED RETREAT FRAYED SISSLING A DISTANT HAND FELL HERE MY LASER GUNS WASHING LIGHT YEARS OVER NEW YORK. ‘LITTLE BOY BLUE’ ON THE TABLE FAR AWAY,

WHISTLING ‘ANNIE LAURIE’ AGAINST THE FRAYED STARS LASER GUNS WASHING A SAT TOY SOLDIER DOWN A POST CARD ROAD THERE HE IS ACROSS THE PLAYGROUND BOOKS AND TOYS PUT AWAY BARE FEET TWISTED ON A FENCE THERE BY THE CREEK EMPTY AS HIS SAD OLD TUNE: ‘THAT N’ER FORGOT WILL BE’ TELLING YOU CLEAR AS THE OLD SUN LIGHT OVER NEW YORK: ‘ENEMY INTERCEPTED.’

“ROCKETS ACROSS THE VALLEY / LASER GUNS WASHING IN PRESENT TIME / ANY SECOND NOW THE WHOLE FUCKING SHIT HOUSE GOES UP” / STUMP OF AN ARM TRAILING BLOOD FORTY FOOT DOWN WHITE STEPS OF THE SEA WALL.

WINDY STREET WITH THE TORN SEPTEMBER SKY: / ‘HAVE I DONE THE JOB HERE? WILL HE HEAR IT? / STUMP OF AN ARM DRIPPING STARS ACROSS THE GOLF COURSE SMELL OF SICKNESS IN THE ROOM THESE FOREIGN SUBURBS HERE.

FAR AWAY: “GOOD BYE, MISTER. I HAVE OPENED THE GATES FOR YOU” WHISTLING DOWN A WINDY STREET THERE IN OLD CUT CLOTHES A POST CARD FALLS ON THE FLOOR

TWISTED COAT ON A 1920 BENCH BARELY AUDIBLE CLICK: A DISTANT VOICE SO PAINFUL STOPPED IN JOYNNY’S MIND A DISTANT HAND FELL FROM HIS SHOULDER. NEVER CAME OUT THAT AFTERNOON AT RECESS TIME I WATCHED THE TORN SKY BEND WITH THE WIND. ROCKETS FELL HERE ON THESE FOREIGN SUBURBS DEAD BIRDS RAINING ADIOS AND DEATH.

‘ENEMY INTERCEPTED OVER NEW YORK.’ A DISTANT SOLDIER NEVER RETURNS. OUR FLAG IS STILL THERE. “SO, MISTER, REMEMBER ME THERE ON A WINDY STREET HALF BURIED IN SAND.”

PERFORMANCE IN ANY NABORHOOD BAR. SAD CALM BOY SPEAKING HERE ON THE FARTHEST SHORE DEAD STARS SPLASH HIS CHEEK BONES WITH SILVER ASH: “REMEMBER ME THERE IN A WINDY STREET DEAD BIRDS RAINING FROM A WHITE HOT SKY” / KLINKER IS DEAD.

THIS SHATTERED GREY HAND BROUGHT HEAVY WEAPONS AND SHOCK TROOPS ARMY WHO PAID ALL OUR STRENGTH. HIS ‘ADIOS’ TO REGISTER FOR YOU A DISTANT HAND LIFTED POST-CARD SOLDIER ERASED OUT AGAINST THE DEAD STARS.

Biographies Transcribed and Translated

EARLE BROWN

NÉ EN 1926 À LUNENBURG, MASS, U.S.A. ÉTUDES D’INGÉNIEUR À NORTHEASTERN, BOSTON. A ÉTUDIÉ ET ENSEIGNÉ LA MUSIQUE SELON LE SYSTÈME SCHILLINGER, S’ASSOCIE AVEC JOHN CAGE, 1952-1954. OEUVRES NOMBREUSES, PUBLIÉES ET JOUÉES, À NEW YORK, LONDRES, PARIS, ITALIE ET ALLEMAGNE. INVITÉ PAR PIERRE BOULEZ À COMPOSER POUR LE DOMAINE MUSICAL EN 1957-58-63. “AVAILABLE FORMS” POUR 100 EXÉCUTANTS ET 2 CHEFS D’ORCHESTRE, FESTIVAL DE VENISE, 1962. “TIMES FIVE,” DOMAINE MUSICALE, PARIS, 1963. “AVAILABLE FORMS II,” DIRIGÉ PAR L. BERNSTEIN, NEW YORK PHILHARMONIC, 1964.

Born 1926 in Lunenburg, MA. Studied engineer at Northeastern University, Boston. Studied and taught music according to the Schillinger system, associated with John Cage, 1952-1954. Many works, published and performed, in New York, London, Paris, Italy, and Germany. Invited by Pierre Boulez to compose for the Domaine Musical [concert society] in 1957, 1958, 1963. “Available Forms” for 100 players and 2 conductors, Festival of Venice, 1962. “Times Five,” Domaine Musical, Paris, 1963. “Available Forms II,” directed by Leonard Bernstein, New York Philharmonic, 1964.

DAVID BUDD

NÉ EN 1927 À ST. PETERSBOURG (FLORIDA) U.S.A. ÉTUDES D’ARCHITECTE À L’UNIVERSITÉ DE FLORIDA. ÉTUDES D’ANATOMIE ART STUDENTS LEAGUE (N.Y.). A VÉCU À NEW YORK JUSQU’EN 1960 MAIS RÉSIDE ACTUELLEMENT A PARIS. PREMIÈRE EXPOSITION: BETTY PARSONS GALLERY, NEW YORK, 1958. DERNIÈRE EXPOSITION: GALERIE HANDSCHIN, BÂLE, 1963.

Born 1927 in St Petersburg (Florida). Studied architecture at the University of Florida. Studied anatomy at the Arts Students League (N.Y.) Lived in New York until 1960 but currently resides in Paris. First exhibit: Betty Parsons Gallery, New York, 1958. Last exhibit: Galerie Handschin, Basel, 1963.

WILLIAM BURROUGHS

NÉ EN 1914 À ST. LOUIS, MISS. U.S.A. ÉTUDES D’ANTHROPOLOGIE À HARVARD, ÉTUDES DE MÉDECINE À VIENNE. A VÉCU AUSSI EN GRÈCE, AU MAROC, À LONDRES ET À PARIS. AUTEUR DE “NAKED LUNCH” (LE FESTIN NU, GALLIMARD, PARIS 1964). “THE SOFT MACHINE,” “THE TICKET THAT EXPLODED,” “NOVIA EXPRESS,” “DEAD FINGERS TALK”, “THE EXTERMINATOR” AND “MINUTES TO GO” WITH BRION GYSIN.

Born 1914 in St Louis, MO. Studied anthropology at Harvard, medicine in Vienna. Has also lived in Greece, Morocco, London, and Paris. Author of Naked Lunch (French translation Le Festin Nu, Gallimard, Paris, 1964), The Soft Machine, The Ticket That Exploded, Nova Express, Dead Fingers Talk, The Exterminator and Minutes to Go with Brion Gysin.

Essay Transcribed and Translated

Le domaine dit “expériemental” dans l’art d’aujourd’hui n’est constructif que s’il s’installe dans le mouvement, sans quoi il académise rapidement, remplaçant l’excitation créative par l’alibi le plus douteux qu’est justement l’expérimental pour l’expérimental. Combien de recherches de l’avant-garde de ces vingt dernières annés qui nous ont trop vite déçus (et a quel point!) pour cette raison. L’aventure morphologique autre est multivalente et se doit de l’être.

Et finalement, de tout un groupe de jeunes dont, il y a presque dix ans maintenant, on pouvait attendre une brillante prise de relais a la prestigieuse génération de l’après-guerre qui avait magistralement ouvert la voie à la signifiance informelle et à l’action-painting, David Budd est l’un des très rares qui n’aient pas rapidement décliné, justement grace à ce perpétuel mouvement de renouvellement dans sa recherche et dans les moyens de la garder vivace, de tendre l’aventure dans un sens de plus en plus “ouvert,” et de ne rien conclure d’autre qu’une joie de peindre d’oeuvre en oeuvre. C’est pour toutes ces bonnes raisons que nous trouvons et sommes prêts à continuer d’accepter une heureuse continuité dont l’invention et la truculence sont aux antipodes des académismes en cours.

— Michel Tapié

The area called “experimental” in today’s art is only constructive when it is placed in movement, without which it quickly becomes academic, replacing the creative stimulus with the most dubious alibi that is “experiment for the sake of experiment.” How many efforts of the avant-garde have too soon proven disappointing (and then some!) for precisely this reason. The morphological adventure that is abstract expressionism [“un art autre” in Tapié’s terminology] is and must be multivalent.

And finally, for ten years now we have been expecting a group of young painters to seize on the opportunity magisterially created by the prestigious generation of post-war painters who opened the way for abstraction and action painting. David Budd is one of the few from this group who have not rapidly declined, precisely thanks to this perpetual movement of renewal in his approach and the ability to maintain this vitality, to transform the adventure into something more and more “open,” and to draw no conclusions other than the joy to paint work after work. It is for these good reasons that we discover — and are ready to continue accepting — a happy continuity whose inventiveness and truculence are opposed to today’s academicism.

— Michel Tapié

Artist’s Statement Transcribed and Translated

Le projet de cette exposition date depuis longtemps. Quand, en 1955 à New York j’ai emménagé dans un atelier, j’avais comme seules voisins Earle et Carolyn Brown. Earle Brown pendant cinq ans a très bien connu ma peinture. Au début de nos conversations il y avait une sort d’entente sur la possibilité d’une exposition pour laquelle Earle composerait une musique écrite spécialement pour mes tableaux. Cette idée nous enchantait tous les deux.

Je suis venu à Paris en 1960, et j’ai eu la chance de voir souvent Brown qui prenait Paris comme point d’attache quand il venait diriger ses concerts à travers L’Europe. Entre temps, j’ai connu William Burroughs dont j’admirais l’oeuvre depuis longtemps. Au printemps 1963, en parlant avec Earle Brown, il m’arriva de constater que non seulement il aimait Burroughs autant que moi, mais que leur processus de création était semblable. J’ai longtemps travaillé sur l’idée de la répétition et sur la possibilité de peindre sur des panneaux d’aluminum qui pouvaient être cuits dans des fours. Deux ou trois panneaux avec une peinture semblable sur chaque coté ajustés ensembles de telle façon qu’un panneau pouvait en couper un autre en continuant la même peinture. Nous travaillions tous les trois dans la même voie. Burroughs était alors à Londres et nous sommes allés le voir Earle et moi armés des enregistrements de Brown. Dès que Burroughs eut entendu cette musique, nous fumes d’accord tous les trois pour une manifestation que nous souhaitions réaliser le plus vite possible. Rodolphe Stadler a accepté de présenter ce projet dans sa galerie. Burroughs est reparti pour Tanger et m’envoyé un texte pour le catalogue. Earle Brown est rentré à New York où il a écrit et enregistré la musique. Je suis resté à Paris pour peindre. Voila toute l’histoire de l’exposition.

— David Budd

The idea of this exhibition dates back a long time. When I moved to a studio in 1955 in New York, my only neighbors were Earle and Carolyn Brown. Over five years Earle Brown came to know my painting well. From the start of our conversations, there was a sort of understanding about the possibility of an exhibit for which Earle would compose music written specially for my paintings. The idea delighted us both.

I came to Paris in 1960, and I often had the chance to see Brown, who used Paris as his base when he came to conduct concerts in Europe. Meanwhile I had met William Burroughs, whose work I’d admired for a long while. In spring 1963, while speaking with Earle Brown, I realized that not only did he admire Burroughs as much as me, but that his creative process was similar. I had been working a long time with the idea of repetition and the possibility of painting on aluminum panels that could be fired in kilns. Two or three panels with similar painting on each side put together in such a way that one panel could cut through another and continue the same painting. We three were working in the same way. Burroughs at the time was in London, so Earle and I went to see him armed with recordings of his music. As soon as Burroughs heard it, the three of us agreed to do an exhibit as soon as it could be arranged. Rodolphe Stadler offered to present the project in his gallery. Burroughs went back to Tangier and sent me a text for the catalogue. Earle Brown returned to New York where he wrote and recorded the music. I stayed in Paris to paint. That’s whole story behind the exhibit.

— David Budd

David Budd rencontre William Burroughs et Earle Brown cover
Galerie Stadler
1964

David Budd rencontre William Burroughs et Earle Brown back (French)
Galerie Stadler
1964

Jed Birmingham on William S. Burroughs Collecting

There are a lot of “what ifs” in book collecting. What if I had bought this and not that? What if I had more money? Or more time? What if I collected this and not that? “What if I did not collect William Burroughs?” is a question I consider. In a piece I wrote over a decade ago, I came to the conclusion that I would have collected Charles Olson instead. The question that serves as the boundary I can never cross or the horizon I can never see beyond is “What if I did not collect?” Such a question throws my very existence into doubt like “What if my parents never met?” If I did not collect, I quite simply would not be the same person I am now.

Another question that I often consider is “What if I did not collect Burroughs’s little magazine appearances?” This came to mind this week when I received my latest purchase in the mail: a program for an art exhibition involving David Budd, Earle Brown, and William Burroughs at the Galerie Stadler in Paris in 1964. I love these little programs and buy them when I get the chance. An interesting collection could be made by collecting Burroughs the artist rather than Burroughs the writer — or I should say “Burroughs the novelist,” since I consider cut-up texts such as Time, APO-33, and The Dead Star artist’s books and some of the finest examples of Burroughs’s talent as a visual artist.

If the Maynard and Miles bibliography was the blueprint for the foundations of my Burroughs little magazine collection, Robert Sobiezek’s Ports of Entry would be the guidebook for constructing an archive on Burroughs the artist. Besides the artist’s books mentioned above, such a collection would also acquire Burroughs’ later collaborations with Keith Haring, George Condo, and Robert Rauschenberg. The Third Mind material done with Brion Gysin has been institutionalized but until recently the raw material relating to Ah Pook by Malcolm Mc Neill was still available. Such material would be a centerpiece to a Burroughs-as-artist collection. Similarly, Joseph Zinnato, a major Burroughs collector, was able to get his hands on the proofs and drafts relating to the C Press edition of Time and make that material a cornerstone of his collection.

Of course there is the late period visual art from manila folder to the shotgun paintings. From what I can tell, much of this art is available to the collector. Patricia Elliott, friend and neighbor of Burroughs in Lawrence, had several pieces for sale just a few years ago. In connection with the visual art, there are also the ephemera associated with Burroughs’ gallery shows, like the one I just received relating to Galerie Stadler. I have a real soft spot for these programs. The Budd / Burroughs / Brown program is just plain cool visually. For the more ambitious, it might be worthwhile to collect all the reviews of these shows that appeared in art magazines or newspapers. Thus an archive could be gathered on the critical reception of Burroughs the artist.

Then we have Burroughs the art critic. Again there are some great ephemera with Burroughs’s small essays on Takis as well as some clunkers. A collector would have to lower his standards to pick up the horribly designed Paintings and Guns by Hanuman Books. Other collectors find these little gems cute. They are not for me although I find some of the texts to be fascinating.

Looking through my collection, I have the humble beginnings of a Burroughs as artist collection: Paintings and Guns, the Mimeo Revolution artist’s books, a handful of gallery catalogs. But this is a beginning that I will unfortunately not take to its conclusion (if a conclusion to a collection is ever possible), which is a shame because I think such a collection would be fun to compile and to research. Then it occurred to me to open a gallery on RealityStudio dedicated to Burroughs as artist. I am posting the bits and pieces that I have, but we at RealityStudio would love it if other collectors sent us images and write-ups of art-related pieces from their collections. For example, if you own a Burroughs painting, take a clear photograph of it and send it in with the background information on the piece as well as a short (or long) write-up. This could be as simple as how you acquired it, a personal impression about what the piece means to you, or a more formal piece of art criticism. If you have a program, scan it and send it to the site. The same goes for reviews of Burroughs’ art shows from newspapers and magazines. We are also posting a bibliography for what a Burroughs as Artist collection would look like. This is clearly a work in progress. If you have any edits and suggestions, please send them in.

Collecting like art is for everybody and the creation of this gallery provides an opportunity to get into the action.

• Bibliography of William S. Burroughs and the Arts
• Checklist of William Burroughs Art Exhibitions by Barry Miles
• Reviews of Burroughs Art Exhibits

Note: this material focuses on printed publications, not notebooks, sketchbooks, manuscripts, or paintings.

William Burroughs and the Arts

1961 Guy Harloff Exhibit

Guy Harloff, Exhibition Catalogue
Galerie “La Cour d’Ingres”
1961

Nanos Valaoritis and William Burroughs texts
Guy Harloff, Exhibition Catalogue
Galerie “La Cour d’Ingres”
1961

Guy Harloff, Exhibition Catalogue
Galerie “La Cour d’Ingres”
1961

1962 Takis Exhibit

Takis, exhibition catalogue
Galleria Schwarz
1962
Front

Takis, exhibition catalogue
Galleria Schwarz
1962
Marcel Duchamp epigraph

Takis, exhibition catalogue
Galleria Schwarz
1962
Texts by Nicolas Callas and William Burroughs (Italian)

Takis, exhibition catalogue
Galleria Schwarz
1962
Text by William Burroughs (Italian)

Takis, exhibition catalogue
Galleria Schwarz
1962
Text by Brion Gysin (Italian)

Takis, exhibition catalogue
Galleria Schwarz
1962
Takis sculpture

Takis, exhibition catalogue
Galleria Schwarz
1962
Text by Alain Jouffroy (Italian)

Takis, exhibition catalogue
Galleria Schwarz
1962
Biographical notice (Italian)

Takis, exhibition catalogue
Galleria Schwarz
1962
French translation of texts

Takis, exhibition catalogue
Galleria Schwarz
1962
English texts

Takis, exhibition catalogue
Galleria Schwarz
1962
Takis in studio

Takis, exhibition catalogue
Galleria Schwarz
1962
Back

1963 Towers Open Fire at ICA London

“On March 28th, 1963, at the Institute of Contemporary Arts (ICA) on Dover Street, Bill, Ian, and Antony Balch presented an evening of cut-ups. Bill sat in a chair and stared at the audience, a powerful blue spotlight making it difficult to see him, while earsplitting cut-up tapes were played featuring distorted Moroccan flutes, pneumatic drills, radio static, fragments of radio broadcasts, and Bill’s own flat, dry voice reading texts and news reports. Stills from Towers Open Fire were projected on a screen above his head (they had intended to screen the film but it was not ready). The Evening Standard reported, “The club was filled to busting point with intrigued spectators even standing outside in the passage to catch one or two eerie twangs of Burroughs’ voice. I found him mysterious as ever. He sat with hands folded and a deadpan expression in front of a blue screen as his voice, sometimes crackling into a strange blend of humour and irony, came over a recording machine.” — Barry Miles, Call Me Burroughs

Towers Open Fire
ICA London
1963

Towers Open Fire
ICA London
1963

Towers Open Fire
ICA London
1963

Towers Open Fire
ICA London
1963

Towers Open Fire
ICA London
1963

1963 Mark Brusse Exhibition

Mark Brusse – Reliefs Machines
Galerie 20, Arnheim, Holland
1963
Catalogue

Download PDF of entire catalogue

William Burroughs
Statement on Mark Brusse

Mark Brusse – Reliefs Machines
Galerie 20, Arnheim, Holland
1963
Invitation – Front

Mark Brusse – Reliefs Machines
Galerie 20, Arnheim, Holland
1963
Invitation – Interior

1963 Bizarre Magazine

Bizarre Magazine
1963

William Burroughs
Untitled Text on Guy Harloff
Bizarre
1963

1964 David Budd Exhibit

David Budd rencontre William Burroughs et Earle Brown cover
Galerie Stadler
1964

Transcription and Translation of Catalogue

David Budd rencontre William Burroughs et Earle Brown back (French)
Galerie Stadler
1964

Transcription and Translation of Catalogue

1967 Takis Exhibit

Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

William Burroughs
Untitled Text Dated “Paris 1960”
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis
Double Signal
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Nicolas Callas
“Takis’ Magnetic Nowhere”
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis
Magnetic Nowhere
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Gregory Corso
“Purple Subway Ride”
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis
Magnetic Needles
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Allen Ginsberg
Untitled Text Dated “Bombay Apr 22, [19]62”
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis
Quavering Mobile
Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

Takis, Magnetic Sculpture, exhibition catalogue
Galerie Stadler
1967

1969 Architectural Design Magazine

Architectural Design
1969

William Burroughs
Untitled Text about 24 Peter Street, London
Architectural Design
1969

1970 Gette’s Crystals

(Images courtesy of BigCrux.)

Gette’s Crystals
1970

William S. Burroughs
Untitled Text
Gette’s Crystals
1970

Gette’s Crystals
1970

Brion Gysin
Untitled Text
Gette’s Crystals
1970

Gette’s Crystals
1970

Bernard Heidsieck
Untitled Text
Gette’s Crystals
1970

Gette’s Crystals
1970

Gette’s Crystals
1970

1974 Ruby Editions Portfolio 1

(Images courtesy of BigCrux.)

Portfolio 1
Ruby Editions
1974

Copyright Page
Ruby Editions
1974

William S. Burroughs
Untitled
Ruby Editions
1974

Henri Chopin
Untitled
Ruby Editions
1974

1988 Tony Shafrazi Gallery

William Burroughs exhibit catalogue
Tony Shafrazi Gallery
1988

William Burroughs
“Entrance to the Museum of Lost Species”
William Burroughs exhibit catalogue
Tony Shafrazi Gallery
1988

William Burroughs
“Entrance to the Museum of Lost Species” (continued)
William Burroughs exhibit catalogue
Tony Shafrazi Gallery
1988

William Burroughs
“Entrance to the Museum of Lost Species” (continued)
William Burroughs exhibit catalogue
Tony Shafrazi Gallery
1988

William Burroughs
“Entrance to the Museum of Lost Species” (continued)
William Burroughs exhibit catalogue
Tony Shafrazi Gallery
1988

William Burroughs exhibit catalogue
Tony Shafrazi Gallery
1988

1988 Burroughs Exhibit at October Gallery (London)

William Burroughs exhibit catalogue
October Gallery
1988

1988 Burroughs Exhibit at Klein Gallery (Chicago)

William Burroughs exhibit postcard
Klein Gallery
1988

1989 Burroughs Exhibit at Galerie Specht (Basel)

William Burroughs exhibit catalogue
Galerie Specht
1989

2005 Burroughs Exhibit at Riflemaker Gallery

Burroughs exhibit catalogue
Riflemaker Gallery
2005

Burroughs exhibit catalogue
Riflemaker Gallery
2005

Burroughs exhibit catalogue
Riflemaker Gallery
2005

Burroughs exhibit catalogue
Riflemaker Gallery
2005

Undated Postcard for Mrabet Exhibit at Gotham Book Mart

Undated Postcard for Mrabet Exhibit (front)
Gotham Book Mart
Anyone have the date?

Undated Postcard for Mrabet Exhibit (back)
Gotham Book Mart
Anyone have the date?