Produced on the occasion of the exhibition AA Bronson 1969–2000 at Secession, Vienna, 5 October–26 November, 2000.

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

After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960–1995) moved to New York to attend the Whitney Independent Study Program in 1987. Engaging with current theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently invokes questions of gender and homosexuality, as well as their representation. It interrogates the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent to education, and the distinction between high and popular culture.

Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s.

Produced on the occasion of Simone Fattal’s exhibition metaphorS, at Secession, Vienna, 21 June–8 September, 2024.

The publication includes a series of collages and drawings by the artist, inspired by Gustav Klimt’s Beethoven Frieze. A reproduction of a new collage is inserted into the book.

Designed by Sabo Day.

Booklet produced on the occasion of the exhibition 7 junge Künstler aus Italien at Museum Folkwang, Essen, 17 October–30 November, 1980. Including the artists Sandro Chia, Francesco Clemente, Enzo Cucchi, Nicola De Maria, Luigi Ontani, Mimmo Paladino, Ernesto Tatafiore.

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

Murakami Saburō’s ‘Paper-Breaking’ performances, in which he burst through multiple sheets of kraft paper stretched across wooden frames with a sharp crack, were synonymous with the artist. He performed them on close to 40 occasions, between 1955 and 1994, throughout his artistic career. Murakami said that, in 1955, he was inspired to adopt this approach after his son came crashing through the fusuma (sliding door) of his locked room (where the artist was polishing up a plan for a new work to present in the 1st Gutai Art Exhibition) in a bid to get his father to play with him. From that time on, ‘Paper-Breaking’ became a physical means for him to present and investigate questions related to time and space, chance and inevitability, and the self and others.

With essays by Ikegami Tsukasa and Reiko Tomii.

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

Produced on the occasion of Thomas Schütte’s exhibition The Laundry Mohr’s Life at Portikus, Frankfurt, 17 June–3 September, 1989 and de Appel, Amsterdam, 26 August–23 September, 1989.

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