Joel Fisher / Joel Fisher by Salvatore Ala. Salvatore Ala by Joel Fisher
FISHER Joel (Salem 1947)
Milano, Galleria Salvatore Ala, [1976]; 10x14,7 cm, complete set of 2 postcards published on the occasion of the exhibition, illustrated with a black and white photographic image of the eye by Salvatore Ala (shot by Joel Fisher) and Joel Fisher (shot by Salvatore Ala). Attached is the envelope from the traveled gallery used to send the postcards. (Milan, Galleria Salvatore Ala, 17 March 1976, opening).
Bibliography: Steven Leiber, «A survey of artists’ ephemera 1960 – 1999», San Francisco, Smart Art Press, 2001: n. 880; Bruno Tonini, «Artists invitations 1965 - 1985», Ravenna, Danilo Montanari Editore, 2019: pag. 216, n. 337
FISHER Joel (Salem 1947)
Milano, Galleria Salvatore Ala, [1976]; 10x14,7 cm, complete set of 2 postcards published on the occasion of the exhibition, illustrated with a black and white photographic image of the eye by Salvatore Ala (shot by Joel Fisher) and Joel Fisher (shot by Salvatore Ala). Attached is the envelope from the traveled gallery used to send the postcards. (Milan, Galleria Salvatore Ala, 17 March 1976, opening).
Bibliography: Steven Leiber, «A survey of artists’ ephemera 1960 – 1999», San Francisco, Smart Art Press, 2001: n. 880; Bruno Tonini, «Artists invitations 1965 - 1985», Ravenna, Danilo Montanari Editore, 2019: pag. 216, n. 337
FISHER Joel (Salem 1947)
Milano, Galleria Salvatore Ala, [1976]; 10x14,7 cm, complete set of 2 postcards published on the occasion of the exhibition, illustrated with a black and white photographic image of the eye by Salvatore Ala (shot by Joel Fisher) and Joel Fisher (shot by Salvatore Ala). Attached is the envelope from the traveled gallery used to send the postcards. (Milan, Galleria Salvatore Ala, 17 March 1976, opening).
Bibliography: Steven Leiber, «A survey of artists’ ephemera 1960 – 1999», San Francisco, Smart Art Press, 2001: n. 880; Bruno Tonini, «Artists invitations 1965 - 1985», Ravenna, Danilo Montanari Editore, 2019: pag. 216, n. 337
"The eyes were always (presented) in sets of two: I photographed the dealer, and the dealer photographed me. Then only exception (as I remember) was the very first one, which was not a postcard but an ad in some magazine; I forget which magazine. Though the postcards always came in sets of two, the format varied: sometimes they were attached to each other with perforations, sometimes they were separate. They were mostly postcard-sizes, although one set was long and thin. I seem to remember one set on A4 paper. They always came in envelopes; often the exhibition details (dates, etc.) were printed on the outside of the envelope, rather than on the postcards. I preferred the separation of content from information, making the information external" Joel Fisher
