Promotional card for Bertrand Lavier’s edition Mirror Multiple, produced by John Gibson Gallery, 1987.

Since the late 1960s, Lavier has reflected upon the relationship between painting and sculpture, representation and abstraction. In order to shape his ideas, Lavier developed a series of ‘demonstrations’: methods and strategies that enable him to question our intellectual baggage and to disrupt our most entrenched visual habits. His best-known intervention is to cover everyday objects with what he refers to as typical ‘Van Gogh-brushwork’. With this act, banal objects become artworks but, even more importantly, the object becomes a painted image of itself.

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

A note about Jack Smith by Michael Krebber; I will not interpret Jack Smith. I will not interpret Jack Smith. I will not interpret Jack… by Felix Bernstein; I Danced with a Penguin by Enzo Shalom; Broadway Central Narco Moon: Jack Smith and Illegality by Branden W. Joseph; Vile Days: The Village Voice Art Columns, 1985–1988, Gary Indiana in conversation with Bruce Hainley and Sohrab Mohebbi; On the film Shake Down by Leilah Weinraub by Juliana Huxtable; On Nina Könnemann at KW Institute for Contemporary Art, Berlin by Megan Francis Sullivan; On Louise Lawler at 80WSE Gallery (NYU), New York by Nick Irvin; On Claire Fontaine at Reena Spaulings, Los Angeles by Anita Chari; On Afuma (Stefan Tcherepnin & Taketo Shimada) at H0L0, Ridgewood by Keith Connolly; On Park McArthur at MoMA, New York by Noah Barker; On the film Vital Behaviors by Ken Okiishi by Felix Bernstein; Garde-montée by Jeanne Graff; Last Summer (Hong Kong SAR) by Sony Devabhaktuni; A Cowboy Narrative by Bernadette Van-Huy; Visual Insert by Jack Smith, 35 mm color slides, I Danced with a Penguin, c. 1983.

Edition of sixty copies numbered and signed by the artist on a certificate and twelve artist’s proofs.

Halo is a unique specimen in Jochen Lempert’s body of work. While the artist is known for his distinctive black and white analogue photographs, for this edition he also included colour. Obviously, this is a subtle, careful, and consistent shift. The photograph here is only partially hand-coloured, with a pale yellow that is perfectly in tune with the nuances of the grey.

Produced on the occasion of the artist’s exhibition ONYCHOPHORA, held at Valence, Art 3 in November 2010. One day old frogs were placed on photographic paper, to which the artist explains that as on jumps and the image is created, it produces the illusion of a fifth frog as the movement is being recorded.

Barbara Bloom explores the nature of gifts in relation to aspects such as wrapping, covering and uncovering, pleasure, secrets, and generosity. Through an exploration of art historical and cultural practices, she reveals the complicated relationship we have with the concept of the gift, considering how these traded objects take on meaning and serve as symbols of our affections, but also anticipate a sense of loss. The gift is a means of apology, making advances, gaining trust, and providing assurances. Through gift-giving, we show a version of intimacy, love, and desire that is deliberate and controlled, but also often more meaningful than intended. With texts by Susan Tallman.

Comes with a bookplate signed by the artist.

Produced on the occasion of the exhibition held April 5, 1990–March 3, 1991 at the Dia Center for the Arts, New York. With a text by Gary Garrels and Charles Wright and conversations between Chamberlain and Lawrence Weiner and Chamberlain and Julie Sylvester.

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