Produced on the occasion of the exhibition No, Not That One It’s Not A Chair at Galerie 1900 2000, Paris, 1 January, 2000.

Curated by Elein Fleiss and featuring John M. Armleder, Richard Artschwager, Alan Belcher, Guillaume Bill, Marie Bourget, Philippe Cazal, Bill Culbert, Nancy Dwyer, Rainer Ganahl, Dominique Gonzalez-Foerster, Thomas Grünfeld, Edward Kienholz, Bertrand Lavier, Louise Lawler, Ken Lum, Cady Noland, Jean-Luc Vilmouth.

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

Studies and preparatory drawings for a large scale chalk work for Auckland Airport, carpark A. The drawings were made from the eleventh floor of the Auckland Airport Novotel, with a view over the almost empty International arrivals and departures carpark, during the last weeks of November 2021. Hand numbered edition of 20.

Produced on the occasion of John Nixon at Superweakness, Den Haag, 7–28 November 2021.

John Nixon was a seminal figure in contemporary Australian abstraction. From 1968, his work was dedicated to the on-going experimentation, analysis and development of radical modernism, minimalism, the monochrome, constructivism, non-objective art and the readymade; which were key reference points in his work. Experimental Painting Workshop (EPW), which the artist named in 1990, but which covers works dating back to 1968, formed the basis of Nixon’s rigorous and long-standing intellectual investigation into the making of art, which over time expanded to encompass not only painting, but collage, photography, video, dance and experimental music performance.

Promotional card for Bertrand Lavier’s edition Mirror Multiple, produced by John Gibson Gallery, 1987.

Since the late 1960s, Lavier has reflected upon the relationship between painting and sculpture, representation and abstraction. In order to shape his ideas, Lavier developed a series of ‘demonstrations’: methods and strategies that enable him to question our intellectual baggage and to disrupt our most entrenched visual habits. His best-known intervention is to cover everyday objects with what he refers to as typical ‘Van Gogh-brushwork’. With this act, banal objects become artworks but, even more importantly, the object becomes a painted image of itself.

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

A note about Jack Smith by Michael Krebber; I will not interpret Jack Smith. I will not interpret Jack Smith. I will not interpret Jack… by Felix Bernstein; I Danced with a Penguin by Enzo Shalom; Broadway Central Narco Moon: Jack Smith and Illegality by Branden W. Joseph; Vile Days: The Village Voice Art Columns, 1985–1988, Gary Indiana in conversation with Bruce Hainley and Sohrab Mohebbi; On the film Shake Down by Leilah Weinraub by Juliana Huxtable; On Nina Könnemann at KW Institute for Contemporary Art, Berlin by Megan Francis Sullivan; On Louise Lawler at 80WSE Gallery (NYU), New York by Nick Irvin; On Claire Fontaine at Reena Spaulings, Los Angeles by Anita Chari; On Afuma (Stefan Tcherepnin & Taketo Shimada) at H0L0, Ridgewood by Keith Connolly; On Park McArthur at MoMA, New York by Noah Barker; On the film Vital Behaviors by Ken Okiishi by Felix Bernstein; Garde-montée by Jeanne Graff; Last Summer (Hong Kong SAR) by Sony Devabhaktuni; A Cowboy Narrative by Bernadette Van-Huy; Visual Insert by Jack Smith, 35 mm color slides, I Danced with a Penguin, c. 1983.

Edition of sixty copies numbered and signed by the artist on a certificate and twelve artist’s proofs.

Halo is a unique specimen in Jochen Lempert’s body of work. While the artist is known for his distinctive black and white analogue photographs, for this edition he also included colour. Obviously, this is a subtle, careful, and consistent shift. The photograph here is only partially hand-coloured, with a pale yellow that is perfectly in tune with the nuances of the grey.