With texts by Merlin Carpenter, Fritz Heubach und Mayo Thompson.

Having had a major influence on the art scene in Cologne during the 80’s and 90’s and ever since, Michael Krebber has a conceptual approach to painting that he explores beyond all pictorial conventions. His practice is marked by ambivalence, subversion, intransigence, and a feigned body language.—CAPC musée d’art contemporain de Bordeaux press release

Michel Foucault Letters documents artist Kevin Immanuel’s ongoing project archiving the supposed correspondence between the famous philosopher and a number of galleries and art institutions throughout Europe, North America, and China. The letters were, in fact, written by Immanuel himself, both as a literalization of Foucault’s emphasis on the importance of cultivating an “ironic stance” toward one’s present situation (in Immanuel’s case, the crisis of being a young artist trying to strike up a meaningful discourse with art institutions), and as a poignant critique of the relationship between art institutions and their patrons. Each letter contains a polite request to become a member of the institution, offers a monetary donation, and actively attempts to initiate a critical dialogue with the institution about its programming and exhibitions.

Invitation card produced on the occasion of the exhibition Anne Truitt at Matthew Marks Gallery, New York, 8 May–26 June, 2010. With an insert that contains a selection of Anne Truitt’s writing.

Produced on the occasion of Manfred Pernice’s solo exhibition FIAT at the Städtisches Museum Zwickau.

Beginning with the image of the small white monkeys, this book examines the author’s relationship with shame through a series of short studies on, amongst other things, cats, hair as a metonym for the self in poetry and fiction, and perceptions of sexual violence. Made through research into Glasgow Women’s Library’s Archive Collections and Lending Library, small white monkeys incorporates material from the library’s archives and the work of female creators past and present, including Anna Mendelssohn, Jean Rhys, Selima Hill, Adrian Piper, June Jordan, Denise Riley, Carolee Schneemann, Vahni Capildeo and Veronica Forrest-Thomson.

Grace Crowley is a publication by Riet Wijnen, based on letters sent to the Australian artist and pioneer of modernist painting Grace Crowley (1890–1979) by friends, family and colleagues. Parts of those letters, which are now housed in the Art Gallery of New South Wales and the State Library of New South Wales archives in Sydney, were transcribed and categorized by Wijnen in subsections such as ‘Marital Status’, ‘Teaching’, ‘Hosting’, ‘Eurasia’, ‘X’, ‘Being A Woman’, ‘War’, ‘$’, and ‘Making Work’. The result is an alternative biography constructed solely through a living set of relations.

Designed by Marc Hollenstein.