Poster produced on the occasion of the exhibition stanley brouwn at FAHRBEREITSCHAFT, Berlin, 1 May, 2014–4 April, 2015. Edition of 100.

Produced on the occasion of stanley brouwn’s participation in the 1982 Venice Biennale. Introduction by Jan Debbaut and texts by Gijs van Tuyl and Rini Dippel.

Phillip King (born 1 May 1934) is a British sculptor, one of Anthony Caro’s best known students, their education followed similar trajectories and they both worked as assistants to Henry Moore. Following the “New Generation” show at the Whitechapel Gallery, both Caro and King were included in the seminal 1966 exhibit, “Primary Structures” at the Jewish Museum in New York.

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

Phillip King (born 1 May 1934) is a British sculptor, one of Anthony Caro’s best known students, their education followed similar trajectories and they both worked as assistants to Henry Moore. Following the New Generation show at the Whitechapel Gallery, both Caro and King were included in the seminal 1966 exhibit, Primary Structures at the Jewish Museum in New York.

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

Accompanying a series of solo collaborations in 2020, this publication offers the first comprehensive and global perspective on Jeremiah Day’s work as an artist, performer, researcher and teacher. As it details Day’s specific works and evolution between visual and performing arts and between political reflection and engagement the result also serves as sourcebook for the legacy of the intersection between dance and the visual arts of the 1960s and 70’s and the models of cultural practice emerging from the work of Hannah Arendt.

Texts by Alain Cueff, Fred Dewey, Jan Verwoert, Angelika Stepkien, Julia Robinson. Designed by Will Holder.

“The works of Joëlle Tuerlinckx can be typified as experiments in which destructive and constructive impulses simultaneously redeem each other. That which is destroyed—or gives that impression to be—is readily rearranged. Some of Tuerlinckx’ work is suggestive of images that fell to pieces. And yet, even those are not ruins, unrestrainedly delivered to the hands of time. In this ample volume the artist endeavours to put forward an inventory of her film and video work up to the present day, ’un travail d’archivage en cours’. Soon this book abandons its attempt at drawing up an inventory in favour of an autonomous rearrangement, a rereading of a myriad of videos, films and film fragments, installations and contexts. A very impressive document.”—Argos