ART SOCIETY FEEDBACK is the first comprehensive monographic publication on the work of the British artist Stephen Willats. From the 1960s until today, Stephen Willats has developed a pioneering practice based on collaboration, interactivity and participation. His works, which are structured like charts and are frequently based on workshops in social focal points with a large number of participants, are intended to encourage viewers to engage with their own creative and cognitive processes, and thereby to examine and transform the way they perceive existing reality.

With texts from Ute Meta Bauer, Brigitte Franzen, Tom Holert, Emily Pethick and Andrew Wilson.

An edition produced in 2005 on the occasion of the exhibition series Critical Societies, which took place in four stages from 24 March–22 November, 2005 at the Badischer Kunstverein. Karslruhe.

Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts.

Produced on the occasion of the exhibition Otto Meyer-Amden: Vorbereitung at Galerie Buchholz, New York, 26 September–2 November, 2019.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

Produced on the occasion of the exhibition Nationalgalerie Berlin, 5 December, 1970–1 February, 1971; Neuer Berliner Kunstverein e.V., 21 February–21 March, 1971; Kasseler Kunstverein, Kunsthalle Bremen, 11 April–23 May, 1971.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

*Please note this publication is secondhand and may have some traces of previous ownership.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

*Please note this publication is secondhand and may have some traces of previous ownership.

Correctomundo: Selected Writings 2001–2026 by the writer Bruce Hainley is a co-publication by the gallery Clementin Seedorf and the design studio CTMS.

Initiated by the artist Yvo Cho, the book brings together fifteen of Hainley’s luminous essays on artists including André Cadere, Julie Becker, Trisha Donnelly, Vincent Fecteau, Gary Indiana, Monica Majoli, David Hammons, and Andy Warhol, among others. To mark the release of the book, an exhibition opened at Clementin Seedorf in Cologne, featuring works and ephemera by artists on whom Hainley has written, alongside works by Devin T. Mays and Christine Pichini.

The first edition comprises 400 copies in a suede hardcover binding. It was designed by CTMS (Christopher Tröster & Max Schropp). Copy-editing by Jennifer Krasinski. Proofreading by B A Briggs.

Bruce Hainley is the author of Under the Sign of [sic]: Sturtevant’s Volte-Face, Foul Mouth, and Really, No Biggie, among other publications. He co-authored Art—A Sex Book with John Waters and edited Gary Indiana’s Vile Days: The Village Voice Art Columns 1985–1988, as well as Commie Pinko Guy, published to accompany the first European survey of Larry Johnson’s work. Hainley has also curated numerous exhibitions at national and international institutions, most recently at Clementin Seedorf, Cologne; Misako & Rosen, Tokyo; and, with Shahryar Nashat, The Renaissance Society, Chicago. Bruce Hainley lives and works in Houston, Texas.