A comprehensive bibliography compiled by Seth Siegelaub, containing over 5,000 catalogued entries of books & articles, with a total of over 10,000 individual texts included in anthologies, reviews & magazines, published in all languages, mostly European (English, French, German, Italian, Spanish), 15th–20th century, treating all aspects of the history of handwoven textiles as art, craft, technology, industry & commerce. All entries are given with full author & title, edition, publisher, date & series title, with most provided with collations, & over 3,000 with a descriptive annotation, including a list of each text contained in anthologies, reviews & magazines. The work concludes with a detailed subject index of the most important books in each subject area.

Produced on the occasion of the exhibition Reinhard Mucha. Der Mucha: An Initial Suspicion at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 3 September, 2022–22 January, 2023. The exhibition united long unseen installations with works from all creative phases at its two venues, K20 and K21, creating a panorama that spans more than four decades of artistic work.

Edited by Susanne Gaensheimer and Falk Wolf.

With cover artwork by Jiří Kolář.

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

Produced on the occasion of the exhibition Alexander Rodchenko 1891–1956 at the Van Abbemuseum, 11 May–17 June, 1979.

Alexander Rodchenko was one of the most versatile constructivist and productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic.

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

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007

Produced on the occasion of the exhibition, Allan Sekula: Dismal science, photoworks, 1972-1996 at the Nederlands Foto Instituut, Rotterdam. With texts from Allan Sekula and Benjamin H.D. Buchloh.

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