Nordhorn Westwerk
Franz Erhard Walther
Published by Städtische Galerie, Nordhorn, 1985, 12 pages (colour & b/w ill.), 22 × 28 cm, German
Price: €10

Produced on the occasion of the exhibition Kunst Stoff Kunst at the Städtische Galerie Nordhorn, 7 September– 13 October, 1985.

#1985 #franzerhardwalther
Les Couleurs: sculptures. Les Formes: peintures
Daniel Buren
Published by The Nova Scotia College of Art and Design, Halifax & Centre Georges Pompidou, Paris, 1981, 79 pages (colour & b/w ill.), 23.5 × 30 cm, French
Price: €19 (Out of stock)

Documents Daniel Buren’s projects Les Couleurs : Sculptures, 1975 and Les Formes : Peintures, 1977, both at the Centre Georges Pompidou, Paris.

With contributions from Daniel Buren, Benjamin H.D. Buchloh, Jean-François Lyotard, and Jean-Hubert Martin. Cover design by Michael Asher & John Salmen.

You can see more on both bodies of work here and here.

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

#1981 #benjaminhdbuchloh #danielburen #jeanfrancoislyotard #michaelasher #novascotiacollegeofartanddesign
Arbeit/Freizeit
Maria Eichhorn
Published by Generali Foundation, Vienna, 1997, 156 pages (colour & b/w ill.), 12 × 19 cm, German / English
Price: €18 (Temporarily out of stock)

Produced on the occasion of Maria Eichhorn’s exhibition Arbeit/Freizeit, at the Generali Foundation, 1994–1996. An exhibition of the staff of Generali Regional Office East, Berlin, consisting of 49 exhibits 47 objects (gifts, permanent loans and acquisitions) in cylindrical display case, beech wood, acrylic glass, 228 × ø 161 cm 1 round aquarium, 54.5 × ø 65 cm, with live fish (angelfishes and clown loaches) on plinth, beech wood, 70.5 × ø 67.2 cm Plant (Dracaena maginata).

With a preface by Hans Peer and Winfried Böttcher, texts by Sabine Breitwieser, Maria Eichhorn, John Miller, Annett Gröschner and Helmut Höge.

#1997 #generalifoundation #johnmiller #mariaeichhorn #sabinebreitwieser
Roma and afterwards
Hannah Villiger
Published by Mousse Publishing, Milan, 2021, 168 pages (colour & b/w ill.), 16 × 22.5 cm, English
Price: €25

With texts by Elizabeth Bronfen, Gioia Dal Molin, Quinn Latimer, Thomas Schmutz.

Hannah Villiger lived and worked as a resident artist at Istituto Svizzero in Rome from 1974 to 1976. There she realized her early artistic ideas and developed the sculptural approach to photography that would shape all of her later work—namely large-format photographs of her own body arranged into blocks of several images, which show close-ups of sometimes fragmented and abstracted body parts. Villiger viewed herself as a sculptor rather than a photographer, and these Roman years were decisive in shaping her artistic practice. In her studio and in the garden of Villa Maraini, she first developed simple objects inspired by the materials of Arte Povera, then gradually shifted to photography, perceiving it as a more sculptural method.

You can find more on her work here.

#2021 #hannahvilliger #moussepublishing #quinnlatimer
Robert Barry
Published by Van Abbemuseum, Eindhoven, 1977, 8 pages, 21 × 27 cm, English / Dutch
Price: €20 (Out of stock)

With texts by Jan Debbaut and Rudi H. Fuchs. Designed by Walter Nikkels.

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

#1977 #robertbarry #rudifuchs #vanabbemuseum #walternikkels
Retrospective/'96-'97
Iwata Nakayama
Published by Ashiya City Museum of Art and History, Ashiya & Shoto Museum of Art, Tokyo, 1996, 192 pages (b/w ill.), 21 × 27.5 cm, Japanese
Price: €65

Iwata Nakayama (1895-1949) is regarded as a one of the most important contributors to the Shinko Shashin movement. After graduating from the Tokyo School of Fine Arts in 1918, he received a scholarship from the Japanese government and went to California before settling in New York. At the same time Nakayama was attracted to avant-garde movements and moved in bohemian circles where he met Shimizu Toshi. Shimizu encouraged him to move to Paris in 1926 where he met Man Ray, Fujita Tsuguji, and Enrico Prompolini. These encounters left a deep impression on him and when he returned to Japan in 1927 he energetically set about forming his own vision of ‘pure art photography’. In 1929 he settled in Ashiya (nr. Kobe) and in the following year founded the Ashiya Camera Club with Hanaya Kambei, Korai Seiji, and others. This club became the main driving force of New Photography in Japan. Together with Kimura and Nojima he founded Koga magazine in 1932 that was the most important forum for artistic photography at the time.

#1996 #abstractphotography #iwatanakayama #japaneseavantgarde #japanesephotography #photography