International Graffiti Times, Vol. 6, 1984, NYC

Folded size: 9" x 4", unfolded 17.5" (h) x 22" (w)

International Graffiti Times, Vol. 4, 1984, NYC

Folded size: 9" x 4", unfolded 17.5" (h) x 22" (w)

International Graffiti Times, Vol. 3, 1984, NYC

Folded size: 9" x 4", unfolded 17.5" (h) x 22" (w)

Jason Middlebrook, A Celebration of Debris, San Francisco Art Institute, 2001

A graduate of the San Francisco Art Institute, this curious and oddly shaped accordion is an offset lithographic print commissioned by the SFAI, December 2001. Signed by artist.  4"-1' (H) 16" (L)

Tate Artist Timeline, Tate Gallery, London, 2006

 
 
 

A handwritten timeline by Sara Fanelli that covers the 20th century and lists all the major artists and movements. This accordion is the published version of the same timeline that's installed on the walls of Levels 3 and 5 at the Tate Modern. The text that accompanies this publication states that Fanelli's handwriting "...is designed to reflect the dynamic nature of twentieth-century art history, rather than something set in stone."  6.25" (H) 75" (L)

The Timechart History of the World, Third Millennium Trust, England, 2004/2008

 

  

A 600 year history of the world from Adam and Eve to Barack Obama in 14 feet 9 inches! Originally published as a Victorian wall chart in 1890, this version's timeline has been extended to the year 2008. This is an extraordinarily detailed chart of world events and figures, and the reverse side contains a contemporary timeline of the leaders of China, Russia, Italy, France, Great Britain, Germany and the USA.

The panoramic feature of accordions is obviously well suited to the chronological display and evolution of many different types of subject matter, and these accordions constitute a distinct sub-genre within accordion publications. This type of timeline publication also illustrates the historical linkage with the accordions' predecessor — the scroll.  17.5" (H) 177" (L)

Helge Reumann & Xavier Robel, Elvis Road, Buenaventura Press, Oakland, 2007

This is an absolutely stunning 24 foot drawing by these two Swiss artists that depicts a long road that cuts through a bizarre and surreal metropolitan landscape, and in the final pages we witness the triumphal return of Jesus! The title of this accordion references Elvis Studio, the name they both individually and collectively work under. 8.75" (h) x 24' (w) 

Jenni Freidman, Bend and Sway, Intaglio print, 2002

Freidman's accordion is an intaglio print that combines line etch, aquatint and soft ground to create a mysterious dimensionality combined with a sense of movement, both qualities that are reflected in the title of this work. Freidman lives in Hartford, Connecticut and publishes under the Stone Dragon Press imprint and is inspired by the natural world. 22" (h) x 120" (w) Jenni Freidman's website: jenni freidman

Robert Morris, Continuous Project Altered Daily, Multiples Inc., New York, NY, 1970

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Robert Morris' contribution to "Artists & Photographs" a boxed edition of artists' multiples, published by Multiples Inc., in association with Colorcraft Inc., New York, NY, in 1970. The 16 photographs in this accordion document an assortment of different elements (earth, plastic, wood etc...) that comprised the original installation, which was changed each day throughout the duration of the work.  12" (W) 72" (L) 

For further details about this artists' boxed edition (ed. 1200) the link below takes you to Public Collectors, an incredible resource for artists projects, collections, and other weird stuff, as well as a detailed listing of the contents of this box. Also at this link is a fascinating hour-long discussion about this publication and its contents by the renowned collector/dealer of artists multiples/publications: Steven Leiber (1957-2012): Boxed Artist's Editions: Collection of stevenleiberbasement, San Francisco, California

Chuck Close, Keith/Six Drawings, Lapp Princess Press in association with Printed Matter, New York, 1979

Chuck Close's accordion presents six portraits of the same sitter with each gridded image created by using different mark making utensils, including stamp pad fingerprints and one with a "Spring street bar swizzle stick." 6" (H) 77.5" (L)

This publication still available from: PrintedMatter.org