Originally published by Siegelaub/Wendler in 1968. Republished in December 2015 on the occasion of the exhibition Seth Siegelaub: Beyond Conceptual Art at the Stedelijk Museum, Amsterdam. With contributions from Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol Lewitt, Robert Morris, Lawrence Weiner.

Various artistic trends originating in Europe after World War 1, such as Russian Constructivism, the Bauhaus in Germany and Surrealism in France, left a strong impression on Japanese art and photography in the Taisho and the early Showa periods. In photography in particular, the Western influence brought a new movement called Shinko Shashin (New Photography) in the early Showa period. This exhibition was an attempt at reexamining the visual expression in the period from the perspective of the photographic work of artists from fields other than photography, focusing on the work of Koshiro Onchi, Osamu Shiihara and Ei-Q.

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

Produced on the occasion of the exhibition Gerry Schum at the Stedelijk Museum, Amsterdam, 21 December 1979–10 February 1980. Film maker and programmer Gerry Schum (Cologne, 1938–1973) was a pioneer in the art and media landscape of the 1960s and 1970s. In collaboration with Ursula Wevers, Schum realised for German television Fernsehgalerie; a unique and unconventional exhibition project that offered artists the opportunity to create a new artwork specifically for the medium television.

SM Cat. No 666.

Designed by Wim Crouwel.

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

Produced on the occasion of the exhibition Anna Daučíková at Secession, Vienna, 16 September–6 November 2022. Anna Daučíková is a pioneer of feminist-queer art in Slovakia and the Czech Republic. Teaching for many years at art academies in Bratislava and Prague, and in recent years at the Salzburg Summer Academy, she counts to the most influential forward thinkers in the area of queer theory and practice.

Despite having only a brief artistic career, spanning from 1962 to 1967, Peter Roehr left behind him a prolific oeuvre of pioneering collages, photo and sound montages and films. Roehr developed a proto-conceptual practice borrowing from pop art and minimalism. His practice was based on the principle of serial organisation and montage, focusing on the effects produced by unvaried repetition.

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