Produced on the occasion of the exhibition Ronald Jones at the San Jose Museum of Art, February 10–April 22, 1990. With texts from I. Michael Danoff and Peter Halley.

Ronald Jones gained prominence in New York during the mid-1980s by using disparate formal and minimal languages to explore history as a medium. Through juxtapositions of historical events, innovations, discoveries, violence and fear, he explores the complex interrelation of events as they define our perception of ourselves and the world often through connecting seemingly unrelated occurrences.

Produced on the occasion of the exhibition Sherrie Levine at Simone Lee Gallery, London, 28 November, 2012–5 February, 2013.

Sherrie Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images, and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, 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.

This publication accompanies Eyes, an exhibition presented in public space, featuring seven billboards across the city of Graz, each displaying compositions of eye makeup by Inge Grognard, photographed by Grognard herself backstage during the preparation of runway preparations and fashion shoots.

Inge Grognard is a pioneering Belgian makeup artist whose work has shaped avant-garde fashion for decades. As a teenager, she befriended Martin Margiela, an encounter that shaped both their creative paths, leading to a two-decade collaboration that helped define the raw, deconstructed aesthetic of Maison Martin Margiela. In the mid-1980s, Grognard became an integral force within the Antwerp Six, working closely with Dries Van Noten, Ann Demeulemeester, Walter Van Beirendonck, Dirk Bikkembergs, Dirk Van Saene, and Marina Yee.

Designed by Julie Peeters.

Produced on the occasion of Markus Raetz’s exhibition at the Stedelijk Museum, Amsterdam, 6 April–20 May, 1979. SM Cat. No 654b.

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

Produced on the occasion of Markus Raetz’s exhibition at the Stedelijk Museum, Amsterdam, 6 April–20 May, 1979. SM Cat. No 654a.

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

Produced on the occasion of Alina Szapocznikow’s exhibition at Galerie Cogeime, Brussels, 12 November–3 December, 1968.

Alina Szapocznikow was a polish sculptor who as a Holocaust survivor began working in the post-war period in a rather classical, figurative manner, her later experimentation and reconception of sculpture left behind a legacy of provocative objects—at once sexualized, visceral, humorous, and political—that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. Her tinted polyester-resin casts of her lips and breasts transformed into quotidian objects like lamps or ashtrays, her spongy polyurethane forms often embedded with casts of bellies or live grass, and her construction of resin sculptures that incorporate found photographs remain as remarkably biting, visionary, and original today as when they were first made.