Often employing methods of surveillance and exploring the idea of privacy in her work, Sophie Calle also utilizes “ready-made” images to address these themes. In her series Cash Machine, photographs are made from ATM video surveillance footage. Each work is exhibited as a sequence of two to eleven images.

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

Bill is an annual magazine that prioritises visual reading of its photographic stories without the distraction of text. The 192 offset pages are printed in CMYK, silver, and black and white on a dozen different paper stocks, along with some Japanese bound signatures. Contributors to this sixth instalment include conceptual artist Rosemarie Trockel, Croatian artist Hana Miletić, RareBooksParis, architect and designer Thorben Gröbel, Japanese artist Yuji Agematsu, French artist Claude Closky, California-based artist Sam Contis, Dutch photography studio Blommers/Schumm, photographer Michael Schmidt, Swiss artist Beat Streuli, and photographer Adrianna Glaviano.

The most comprehensive collection to date of the artist Bruce Nauman’s writings plus all of his major interviews from 1965 to 2001. Since the 1960s, the artist Bruce Nauman has developed a highly complex and pluralistic oeuvre ranging from discrete sculpture, performance, film, video, and text-based works to elaborate multipart installations incorporating sound, video recording and monitors, and architectural structures. Nauman’s work is often interpreted in terms of movements and mediums, including performance, postminimalism, process, and conceptual art, thereby emphasizing its apparent eclecticism. But what is often overlooked is that underlying these seemingly disparate artistic tendencies are conceptual continuities, one of which is an investigation of the nature of language.

*Please note this publication is secondhand and may have some traces of previous ownership (missing dust jacket).

With texts by Dan Fox, Anja Casser and a conversation with Daniel Pies.

This first monograph of German artist Andrea Büttner follows her solo exhibition at Badischer Kunstverein and was developed in close collaboration with the artist. In addition to drawing, photograph, video, reverse painting on glass and silkscreen, Büttner uses the technique of woodcut. It is the supposed antiquity of this medium – as well as the artistic tradition which it evokes – that refers to a fundamental question in her work: How is it possible to comprehend or to describe the threshold which is occupied by an artwork between the intimate practice of production and the public practice of exhibitions? Büttner’s works not only thematize aspects of individual surrender, failure and shame, but also refer to the exemplary, utopian imagination of life-forms operating beyond these feelings of inadequacy.

This comprehensive volume chronicles four decades of exhibitions held at the esteemed Antwerp-based art gallery, Galerie Micheline Szwajcer.

Throughout its illustrious history, the gallery has remained faithful to its artistic ethos while embracing innovation. This is evident in its dedication to featuring emerging talents, particularly those within the post-conceptual realm. Representing and working with artists such as On Kawara, Lawrence Weiner, Christopher Wool, Luciano Fabro, Ann Veronica Janssens, Dan Graham, Giovanni Anselmo, Lili Dujourie, Liam Gillick, and many more.

Produced on the occasion of the exhibition Sherrie Levine: After Reinhardt at David Zwirner Gallery, New York, 28 February–20 April, 2019.

Sherrie Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Since she rose to prominence as a member of the Pictures Generation of artists in the late 1970s and 1980s, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.