Association of Women Art Dealers Prints and Multiples

Borborygmi, 1988 Signed, dated, and numbered in pencil in lower margin Aquatint with colors 49 x 49 inches

Museum, 1978 Signed and numbered Lithograph Sheet: 10 x 23 inches Frame: 15.25 x 28.75 inches Edition 38 of 150

Tribal Sign, 1987 Signed and dated in pencil with publisher's blindstamp Eleven color lithograph on mauve TGL handmade paper Sheet: 24 x 18.5 inches Frame: 33 x 27 inches Edition 25 ...

Untitled (SF-344), 1990 Signed and numbered with publisher's chop mark Lithograph in 5 colorson PTI #120 Waterleaf paper; torn and deckled edges 47.25 x 30 inches Edition of 50

Untitled (SF-343), 1990 Signed and numbered in pencil with publisher's chop mark Lithograph in 6 colors on PTI #120 Waterleaf paper 46.25 x 30 inches Edition of 50

Acrylic and enamel screenprint, diamond dust on Somerset paper.

Edition of 50 This work is registered in the Steve Kaufman (SAK) Catalogue Raisonné.

Screenprint in 36 colours on 100% rag 4-ply Museum Board

Edition XVII of C Each work is accompanied by a Certificate of Authenticity from Pierre Argillet.

Framed: 56.5 x 43 inches Edition of 6 From the series "Pictures of Pigment" Signed and dated on affixed label

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

From "Eight Etchings" (1925-1931) Printed by Stem Graphics Published by Midtown Galleries and Sylvan Cole Gallery Signed in pencil lower right

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

Image: 21 x 17 in. Frame (suede): 31 x 26 in. Signed and numbered in pencil

From the "Edition Domberger 1980" Signed and numbered with publisher embossing

From "Eight Etchings" (1925-1931) Printed by Stem Graphics Published by Midtown Galleries and Sylvan Cole Gallery Signed in pencil lower right

Each signed and titled in pencil

Hand colored lithograph on BFK Rives paper Edition 4 of 25 Signed, titled, and numbered in pencil

From the "Dente Prompte" portfolio Gallery labels to reverse: Gluria Luria Gallery, Bay Harbor Islands, Florida

From the "Dente Prompte" portfolio Gallery labels to reverse: Gluria Luria Gallery, Bay Harbor Islands, Florida

After Roy Lichtenstein As I Opened Fire Poster (after the painting from 1923) Offset lithograph triptych on thick, woven paper Each Frame: 33.5 x 29.25 ...

Signed and numbered in pencil; stamp signed and dated

Lithograph and screenprint on Arches cover, Signed and dated

Signed and numbered in pencil

Screenprint in 18 colours on Archivart 100% rag 4-ply Museum Board Signed and numbered in pencil with blindstamp

Lithograph on Rives BFK White paper Signed and numbered

Lithograph on Rives BFK paper Frame: 44 x 35.75 in. Signed and numbered in pencil Image drawn with water tusche directly on plates Lembark 271

Screenprint on off-white wove paper Signed and numbered in pencil: 44 from 300 plus an unknown number of AP (inscribed A/P).

Signed and numbered in pencil

Screenprint on wove paper Edition of 50 Published by Gemini G.E.L., Los Angeles Signed and numbered in pencil with studio blindstamp

Farah Khelil, Mo’jam, Fine Art Print, 99.7 x 150 cm, 2015 antoine lefebvre editions bookworm, curated by Antoine Lefebvre The boundaries between passion and destruction fade away. bookworms is an transnational transmedia artists’ project about book-loving and book-eating, conservation and conservatism, passion and destruction. From the encounter with a destroyed book stems a reflection between two artists who are both passionate about books. It is important for us to present this project in different countries because the issues of transmission of knowledge are everywhere the same. This project is about the ignorants for whom knowledge, intelligence and education has become a threat and who seek to drag others with them into darkness. For Khelil, the book eaters are thinkers and intellectuals against conservatism and dogmatism. *** bookworms is an artists’ project about book-loving and book-eating, conservation and conservatism, passion and destruction This project is the fruit of a very special encounter with an object… After the death of her grandfather in 2012, Tunisian artist Farah Khelil (b. 1980) explored his library and found an old family dictionary in Arabic (Mo'jam Arabia), at least what was left of it, for it had been devoured by book eaters. She decided to collect some fragments without knowing what she would do with them. Impressed by how carefully cut the pieces were, she wanted to transform them into artworks that would honor the memory of her grandfather. Because she knew how important the book object is in my artistic practice, she showed me the fragments and invited me to participate in an exhibition at the Tunisian gallery A.GORGI in her hometown Sidi Bou Said. I then thought about introducing her to Barbara Denis-Morel, the curator of the Avranches Library. This library conserves, among other treasures, more than 200 medieval manuscripts from the abbey of the Mont Saint-Michel, but it also holds a few books that were entirely devoured. Thanks to the curator, we could consult old books that were infected, quarantined, pierced by galleries and routes that revealed the passage of book-eating insects. We filmed these pages to create a video that we entitled ALL THE MEMORY IN THE WORLD, Toute la mémoire du monde, which is an appropriation of the eponymous film by Alain Resnais. Farah had also kept some intact pages of the devoured dictionary. Then we used this sequence of 120 pages to build the lay-out structure of an artist’s book. The idea was to empty all the textual content —captions and definitions— to keep only the figures, the dropped initials, and the page numbers. The emptied columns of the dictionary were then filled with artistic contributions and texts that we commissioned to invited authors. Printed in an edition of 500 copies, this artist book was made by Farah Khelil and antoine lefebvre editions from the remains of a devoured book. It will be a key element, of this second presentation of the project, and a special edition with a bookstand will produced especially for the fair. Behind the idea of book-eating insects, there is the issue of conservation but also of conservatism, as in Solitaire, an installation Khelil made with a peg solitaire game and mothballs. This work is a “portrait” of her grandfather, Abdelaziz Majdoub, who taught Arabic at the Sadiki High School for a long time where he specialized in “ilm al-kalam,” the science of language. This project is imbued with nostalgia, it is reminder for the artist of the time she spent as a child with this thinker always with his head in books. These encyclopedic pieces transformed into artworks draw the territories and communal places of knowledge. They are extensions of a family memory and reflect a culture going back and forth between book-loving and book-eating, conservation and conservatism. This idea of book destruction is one of the main dangers threatening the library and the books that compose it: fire, water and confinement. But there is also this minor or mediocre scourge that intend to harm the books: the book eaters. This exhibition is a metaphor, a reflection on ignorance, not as opposed to knowledge but as an enemy of knowledge. Ignorance is what attempts to undermine the intelligence, kill or reduce it. Just like the bookworms...