Produced on the occasion of the exhibition Yayoi Kusama New York/Tokyo held at the Museum of Contemporary Art Tokyo in 1999. This two-volume collection (Love Forever Yayoi Kusama 1958-1968 & In Full Bloom Yayoi Kusama Years in Japan) contains paintings, photo collages, and sculptures created in both New York and Tokyo over the artist’s career.

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

Produced on the occasion of the exhibition Anna Oppermann: Ensembles at Württembergischer Kunstverein, Stuttgart, 17 April 17 – 12 August, 2007 and the Generali Foundation, Vienna, 28 August – 16 December, 2007.

In the late sixties German artist Anna Oppermann (1940–1993) began creating installations, which she called Ensembles, containing references to Pop Art, Arte Povera, and Conceptual Art. Assembled using found objects, photographs, sketches, personal texts, quotations, and coloured photographic screens, these installations were often misinterpreted by contemporaries as purely biographical statements.

“A sense of art history is part of the critical basis on which artists construct ‘a future’ of art. But the question is, which sense of art history will be shaping that future? Art history has always been far too important to be simply left up to art historians.”
— Ian Burn, 1985

This presentation is organised by Robert Milne and includes a work by Ian Burn from 1989, exhibited with selected publications and other documentation, to coincide with the release of the new book. The Estate of Ian Burn is represented by Milani Gallery, Meanjin/Brisbane.

Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—and, as he once described himself in a moment of self-deprecating alienation, ‘an ex-Conceptual artist’. This volume brings together a diverse collection of Burn’s writings that reveals a probing, analytical artist who turned to language to articulate the need for ‘looking at seeing and reading’, who pursued a Marxist politics in the face of neoliberalism and who sought to occupy and transform the margins of landscape painting. The publication includes previously unpublished material and offers a prescient rethinking of art in a decentered world through what Burn called ‘peripheral vision’.

Ian Burn: COLLECTED WRITINGS 1966–1993 is edited by Ann Stephen and designed by Robert Milne, with contributions by Art & Language, Adrian Piper, Paul Wood, Allan Sekula, and Mel Ramsden.

Produced on the occasion of the exhibition Margaret Raspé: Automatik at Haus am Waldsee, Berlin, the first comprehensive retrospective exhibition by the Berlin-based artist. Over the past five decades, Raspé has created a significant body of work in the immediate vicinity of the institution, developing an idiosyncratic artistic language that considers life and art, and their everyday conditions, in unison. In addition to her acclaimed film works from the 1970s and 80s, Raspé’s oeuvre consists of performances, photo series, sound works, and large-scale installations in both indoor and outdoor settings.

With contributions from Karolin Meunier, Kollektiv Florida, Ghislaine Leung, Kari Rittenbach, Emily LaBarge, Anna Gritz & Eva Wilson. Design by HIT & Veronika de Haas.

With contributions by Stuart Bertolotti-Bailey, Rob Giampietro, Anthony Huberman, J. Christopher Jones, Louis Kaplan, Edgar Allan Poe, Seth Price, David Reinfurt, David Senior and Giles Weaver.

Over the past few years, Dexter Sinister has been interested in exploring contemporary publishing in its broadest, most exploded sense. The first part of this book consists of pieces of writings written since the conception of their New York basement workshop and bookstore in the summer of 2006. These writings were previously published online as PDFs in the Library at www.dextersinister.org. They were primarily written by Dexter Sinister or by one of a circle of regular collaborators, often for their house journal Dot Dot Dot, or as supplements to other books or exhibitions.