Produced on the occasion of the exhibition Sherrie Levine, Mayhem at the Whitney Museum of American Art, New York, 10 November, 2011–29 January, 2012.

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.

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

Produced on the occasion of the exhibition Sherrie Levine at Galerie Nachst St Stephan, Vienna in May, 1988.

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.

*Please note this publication is secondhand and may have some traces of previous ownership. (Some damage to cover and spine)

Dear ____,

I happened to look for a while out of “my” window on the 17th floor Palliativstation of the Wiener Allgemeinen Krankenhauses last night, where an enormous orange moon was hanging about, consorting with a lick of dark cloud, near to the tiny gaggle of skyscrapers. I didn’t have much to say for myself and so it just sort of looked back at me.

Every day friends and well-wishers come here and as always I want to run to my room and read a book until they’ve left but for the first time in my life my room is also the room they want to visit, and so I can’t. I wrote down yesterday as best as I could the words of my last long conversation with Marina: there might be more, but the words are running away from her now, which only makes you realise how small and insignificant they are, fleeing from something (from someone) who remains exactly who they were even in their absence: like dust falling from the sun.

Monograph for K. Budrys presents a body of illustrations by Kęstas Budrys, a little-documented artist whose work appeared in Naglis, the first Lithuanian gay magazine, published from 1993 to 1997. Budrys’ drawings range from photorealistic, dot-based renderings of homoerotic imagery to irreverent cartoon figures and comic strips, moving between eroticism, awkwardness, humour, and sentiment.

Edited and designed by Augustinas Milkus, with essays by Mehmet Süzgün and Miglė Lukoševičiūtė, it is the first monograph dedicated to Kęstas Budrys.

Original drawing and performance script later published in Movement Research Performance Journal, by Geo Wyex, an artist and educator based in Rotterdam, Netherlands, primarily working in music, performance, sound and poetry. Wyex has performed at various venues including the New Museum, Stedelijk Museum Amsterdam, MoMA PS1, Anthology Film Archives, The Studio Museum in Harlem, Dutch National Opera, Triangle France, The Kitchen, Arsenic (Switzerland), Biquini Wax (Mexico City), LA MoCA, New York Live Arts, La MaMa Theatre, Human Resources, The Pyramid Club, and Joe’s Pub.

Artistic polymath Herbert Bayer was one of the Bauhaus’s most influential students, teachers, and proponents, advocating the integration of all arts throughout his career.

Most of Bayer’s photographs come from the decade 1928–38, when he was based in Berlin working as a commercial artist. They represent his broad approach to art, including graphic views of architecture and carefully crafted montages.