Produced on the occasion of the touring exhibition Ways of Attaching, the first institutional survey exhibition of American artist Rosemary Mayer at Swiss Institute, New York; Ludwig Forum, Aachen; Lenbachhaus, Munich and Spike Island, Bristol over 2021–2023.

Ways of Attaching provides an overview of the artist’s work, moving from early conceptual experiments of the late 1960s through to textile sculptures and drawings made in the early 1970s, before focusing on propositional and durational performances and temporary monuments made from 1977 to 1982.

Edited by Eva Birkenstock, Laura McLean-Ferris, Robert Leckie, Stephanie Weber.

You can see a conversation between Nick Mauss and Kathy Halbreich on Mayer’s work here.

Produced on the occasion of the exhibition Box Construction & Collage by Joseph Cornell at Gatodo Gallery, Tokyo, 24 May–5 June, 1982.

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

Hermann Finsterlin (18 August 1887–16 September 1973) was a German visionary architect, painter, poet, essayist, toymaker and composer. He played an influential role in the German expressionist architecture movement of the early 20th century but due to the harsh economic climate realised none of his projects.

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

Produced on the occasion of Bruno Taut Retrospective: Nature and Fantasy 1880–1938 at the Sezon Museum of Art, Tokyo, 9 June–1 August, 1994, and at the National Museum of Modern Art, Kyoto, 30 August–2 October, 1994.

Bruno Taut was a renowned German architect, urban planner and author of Prussian Lithuanian heritage. He was active during the Weimar period and is known for his theoretical work, speculative writings and a handful of exhibition buildings. Taut’s best-known single building is the prismatic dome of the Glass Pavilion at the Cologne Werkbund Exhibition (1914).

Also including the work of Paul Goesch, Herman Finsterlin and Wenzel Hablik.

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

Rose Nolan works across paint­ing, instal­la­tion, sculp­ture, pho­tog­ra­phy, prints and book pro­duc­tion. Her prac­tice reg­u­lar­ly oscil­lates between the dis­crete and the mon­u­men­tal and is informed by a strong inter­est in archi­tec­ture, inte­ri­or and graph­ic design—com­bin­ing for­mal con­cerns with the lega­cies of mod­ernism. Nolan’s prac­tice is known for its inves­ti­ga­tion of the for­mal and lin­guis­tic qual­i­ties of words, direct­ly using lan­guage to trans­form the archi­tec­tur­al space they inhab­it. By mak­ing language con­crete in this way mean­ing is allowed to be approached differently.

With a text by Ingrid Perez and photography by Christian Capurro. Designed by Rose Nolan and Warren Taylor. Edition of 100 hand-numbered and initialed by the artist.

Produced on the occasion of the exhibition Adminstrate, at Artspeak, Vancouver, February 19–March 19, 2016. Curated by Anthony Huberman and Kim Nguyen and including the work of Jason Hirata, Garry Neill Kennedy and Laura Owens.

Documents the work The Letter E, 1980–2017, through reproductions of office correspondence created following the artist’s removal of the lower half of the letter ‘e’.

Designed by Erik Hood. Printed in an edition of 50 and signed by the artist.

You can find more on the work here.