Spine resembles a catalogue raisonné of R.H. Quaytman’s work produced since 2001, the year the artist began organizing paintings in what are called “Chapters.” Conceived and written by Quaytman, this more than 400-page volume presents a full decade’s output, from “The Sun, Chapter 1” to “Spine, Chapter 20,” the latest series which revisits motifs elaborated in the preceding nineteen chapters. A text articulating the artist’s systematic pictorial practice, executed on Golden Section wood panels, is printed on the book’s unfolding dust jacket.

Produced on the occasion of Richard Tuttle’s participation in the group exhibition Das kleine Spiel zwischen dem Ich und dem Mir: Kunst und Choreografie at Kolumba Museum, Köln.

This early piece by Richard Tuttle consists of 10 drawings laid out on the floor using pieces of string. The traces of physical gestures that are incorporated into the piece open up a field of possibilities, enabling the visitors to become actors with their own agency. The notation for this piece is documented here and a video of the performance can be seen here.

Pati Hill (b. 1921 in Ashland, Kentucky, USA; d. 2014 in Sens, France) was untrained as an artist and began to use the photocopier as an artistic tool in the early 1970s, continuing to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text. In addition to this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, artist’s books, and poetry. Drawing also became an essential part of her practice. In 1975, Hill published Slave Days, a book of 29 poems paired with photocopies of small household objects.

Kristján Guðmundsson (born 1941) is a contemporary Icelandic conceptual artist. He started his career as an artist in the 1960s as a member of SÚM – a group of young artists influenced by then-new currents in conceptual and installation art. Guðmundsson’s art reflects both prevailing traditions in late 20th century western art in general, and the dominance of abstract and conceptual art in the post-war art of Iceland in particular. He has said, “I am trying to work within the field of tension that exists between nothing and something”.

Produced on the occasion of the awarding of the Charles Nypels Prize to Walter Nikkels, who designed and edited countless books and catalogues, including for the Van Abbemuseum, the Stedelijk Museum Amsterdam, and for various other Dutch and foreign museums and institutes, invitations, paper money, stamps, posters, logos, house styles, and much more.

Designed by Wigger Bierma & Walter Nikkels.

*Please note this publication is secondhand and has some traces of previous ownership. (Some sun damage to the back cover)

Produced on the occasion of Gerhard Rühm’s exhibition Liederbilder Klangkörper Scherenschnitte at
Galerie beim Steinernen Kreuz Brigitte Seinsoth, Bremen, 19 May–26 June, 1992.

Gerhard Rühm is noted for his work in acoustic art, including sound poetry, spoken word, and photomontage. In the early 1950s he developed a body of work, crossing the boundaries between many different mediums. He also experimented in drawing, visual poetry, and photomontage, using such diverse techniques as overpainting (l’essentiel de la grammaire [The Essentials of Grammar], 1962) and collage (Typocollagen [Type Collage], 1955–1963).