Produced on the occasion of the screenings Selected Video Works (1970-1991) of Michel Auder’s work that took place at Anthology Film Archives, from 20 May–22 June, 1991. This publication includes an introduction by Jonas Mekas, and descriptions of the screenings, along with corresponding film stills.

This publication focuses on On Kawara’s previously unstudied five-year stay in Tokyo, where he was part of influential avant-garde art student associations and wrote many pieces of art criticism. His violent and grotesque imagery from this period is in stark contrast to his streamlined conceptual date paintings.

Reproducing the complete Bathroom series (1953–54), Events in a Warehouse (1954), and a number of figurative paintings and drawings executed in Japan. The latter half of this book is a collection of newspaper headlines from 1952 to 1956 in both languages, printed on newsprint.

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

Memorial edition produced on the 10 year anniversary of the deaths of Wies Smals, Josine van Droffelaar, Gerhard von Graevenitz, Martin Barkhuis and Hendrik Smals in a plane crash.

“This is a facsimile of a small aluminum tag which reads ‘Aanwezig’ (Present) on one side, and ‘Afwezig’ (Absent) on the other. It was found at an airport for private planes in Holland in May of 1983. These tags hung on hooks under the names of pilots who frequented that airport, indicating their presence or absence. I was moved to take one, and have had it on my desk ever since.”

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

Produced on the occasion of Josef Dabernig’s exhibition at Secession, Vienna, 30 September – 31 November, 1992. With texts from Josef Dabernig, Christian Kravagna and Adolf Krischanitz.

This catalogue is the outcome of research into Australian artist Ian Burn’s work of the late 1950s and early 1960s. Grounded in the traditional genres of landscape, still life and portrait, little is known about this early work, yet a substantial collection of it – juvenilia, art school paintings, yearbook cartoons, hinged boxes, paint palettes, still lifes, orientalist prints and more-resides at the artist’s brother Robert’s house in Newtown, Geelong. This material has not been exhibited or reproduced previously and thus expands knowledge of the artist’s oeuvre.

Documented are two exhibitions of Burn’s early work held at Guzzler gallery in 2022 and 2023. The first exhibition rehung his ambitious entry into the 1962 Travelling Scholarship Prize at the National Gallery School, Melbourne, a large Antipodean-esque painting of a bar scene. The second exhibition, comprised of several genre pictures and a drawing exercise, further showcased the humble origins of Burn’s art.

Author: David Homewood
Design: Alexandra Margetic
Photography: Luke Sands

“The Chilean people began to ask these and other questions in revolutionary Chile 1970. How To Read Donald Duck was first published as Para Leer al Pato Donald in Chile 1971, and during the fascist period it was banned and burned there with other literature. A product of the political struggle, the book is a profound and imaginative critique of the sacred cow of children’s culture: the Disney Myth. With a new preface by the authors, an updated introduction by David Kunzle, an annotated bibliography of left writings on cultural imperialism and the comics, and an appendix by John Shelton Lawrence on the U.S. government’s censorship and the legal-political right to criticise Disney.” Published by Seth Sieglaub’s imprint International General.