{"title":"Pol Bury","description":"\u003cp\u003ePol Bury (1922–2005, Belgium) began as a painter associated with the CoBrA group before turning to kinetic sculpture and, from the early 1960s, to a body of photo-based works he called Cinetisations. These works cut and reassembled photographic images of fixed monuments — the Statue of Liberty, the Pan Am Building, the Eiffel Tower — so that they appear to buckle, swerve, or collapse into themselves. The process translates the logic of his kinetic sculptures into the printed image: movement is not recorded but constructed, imposed on the static surface through incision and reassembly.\u003c\/p\u003e\u003cp\u003eMoMA holds works from the \u003cem\u003eX Cinetizations\u003c\/em\u003e series (1966), and the Met has described the Cinetisations as producing images that “swerve, buckle, or collapse into themselves.” Bury’s work sits at the intersection of kinetic art, Conceptualism, and the photographic manipulation that would become central to image culture in subsequent decades.\u003c\/p\u003e\u003cp\u003eItems in this section include periodicals, exhibition catalogues, and printed matter in which Bury’s work appears as cover image, subject, or reproduced work.\u003c\/p\u003e","products":[{"product_id":"pol-bury-art-and-artists-vol-1-no-10-january-1967","title":"POL BURY — Art and Artists, Vol. 1, No. 10, January 1967","description":"\u003cp\u003e\u003cem\u003eArt and Artists\u003c\/em\u003e, Vol. 1, No. 10. London: Hansom Books, January 1967. Edited by Mario Amaya. Approx. 27.5 × 21 cm. Staple-bound periodical; offset-printed illustrated wrappers; black-and-white and colour illustrations throughout.\u003c\/p\u003e\u003cp\u003eEarly issue of \u003cem\u003eArt and Artists\u003c\/em\u003e, from the magazine’s first year of publication. The cover carries Pol Bury’s Cinetisation of the Statue of Liberty: three versions of the monument printed in red, white, and blue vertical bands, each progressively distorted. The image is more than a graphic device. It translates a public monument into a moving printed surface. Liberty becomes unstable, processed, cut, redistributed.\u003c\/p\u003e\u003cp\u003eBury’s Cinetisations began in the early 1960s as photo-based works made by cutting and reassembling images so that buildings, monuments, and fixed forms appear to buckle or move. MoMA holds a 1966 work from \u003cem\u003eX Cinetizations\u003c\/em\u003e, placing this cover directly in Bury’s mid-1960s print and image practice. The interior feature on ‘Cinétisations’ extends the argument in text, illustrated with his Cinetisation of the Pan Am Building, New York, 1964.\u003c\/p\u003e\u003cp\u003eThe back cover carries a full-page advertisement for Gravures Maeght Editeur at Redfern Gallery, 20 Cork Street, London — listing Braque, Chagall, Giacometti, Miró, Calder, Chillida, Kelly, and others. The London gallery guide extends the object further into the art-world network of 1966–67.\u003c\/p\u003e\u003cp\u003eIn The New Rare register, this is a compact 1960s circulation object: Belgian kinetic art, New York iconography, London publishing, and Paris\/New York gallery networks all passing through one magazine. The cover does not simply reproduce Bury’s work; it performs the logic of the work at magazine scale. Monument becomes image. Image becomes cover. Cover becomes collectible support.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Rubbing to spine and covers, light age toning, handling marks, small creases and surface wear consistent with a handled 1960s art periodical. Interior clean.\u003c\/p\u003e","brand":"Hansom Books","offers":[{"title":"Default Title","offer_id":53875478692178,"sku":"BURY-ARTANDARTISTS-CAT-1967","price":55.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Art_and_Artists_January_1967._Pol_Bury.jpg?v=1782756694"}],"url":"https:\/\/thenewrare.com\/collections\/pol-bury.oembed","provider":"The New Rare","version":"1.0","type":"link"}