A Bell is a Cup was first published in 2012 to coincide with the exhibition “Impressionism” by Matt Connors, held at MoMA PS1, New York and in 2013 was awarded in the inaugural Most Beautiful Books—Australia & New Zealand (MBBANZ), nominated for Artist Book of the Year in Rob Pruitt’s Art Awards, and in 2014 received the Förderpreis in the Walter Tiemann Prize presented by Verein zur Förderung von Grafik und Buchkunst Leipzig.

The second edition is printed at 90% scale of the first edition, has sixteen new dust jacket/cover combinations and still includes texts by Peter Eleey, Michel Leiris, Gertrude Stein and Jack Spicer, alongside the first comprehensive gathering of Connors’ work to date (as of 2012).

Designed by Sinisa Mackovic & Robert Milne.

A Bell is a Cup was first published in 2012 to coincide with the exhibition “Impressionism” by Matt Connors, held at MoMA PS1, New York and in 2013 was awarded in the inaugural Most Beautiful Books—Australia & New Zealand (MBBANZ), nominated for Artist Book of the Year in Rob Pruitt’s Art Awards, and in 2014 received the Förderpreis in the Walter Tiemann Prize presented by Verein zur Förderung von Grafik und Buchkunst Leipzig.

The second edition is printed at 90% scale of the first edition, has sixteen new dust jacket/cover combinations and still includes texts by Peter Eleey, Michel Leiris, Gertrude Stein and Jack Spicer, alongside the first comprehensive gathering of Connors’ work to date (as of 2012).

Designed by Sinisa Mackovic & Robert Milne.

David Robilliard (b.1952, Guernsey) moved to London in the late 1970s where he established himself as a self-taught painter and poet. He began working for Gilbert & George after appearing as an ‘angry young man’ in their film The World of Gilbert and George (1981). They actively promoted him as their favourite artist and in 1984 published ‘Inevitable’, his first volume of poetry. Three years later, in 1987, Robilliard was diagnosed as HIV positive and in 1988 he died at the age of 36. In his short life he produced a modest but important body of work now held in significant public collections including the Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Tate Modern, London and the Van Abbemuseum, Eindhoven. His work is direct both in content and form, comical and yet ultimately deeply romantic.—Rob Tufnell, David Robilliard Disorganised Writings and Sketches

Judith Scott’s work is celebrated for its astonishing visual complexity. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. Often working for weeks or months on individual pieces, she used yarn, thread, fabric, and other fibers to envelop found objects into fastidiously woven, wrapped, and bundled structures.

Born in Columbus, Ohio, with Down syndrome, Scott (1943–2005) was also largely deaf and did not speak. After thirty-five years living within an institutional setting for people with disabilities, she was introduced in 1987 to Creative Growth Art Center—a visionary studio art program founded more than forty years ago in Oakland, California, to foster and serve a community of artists with developmental and physical disabilities.

Produced on the occasion of Lexicon of Infinite Movement, at the Kröller Müller Museum, 18 May, 2019–15 September, 2019, the first Dutch museum solo exhibition of Charlotte Posenenske.

The works of Charlotte Posenenske (Wiesbaden, 1930-Frankfurt am Main, 1985) consist of series in an unlimited edition. According to a number of rules, they can be made and repeated—also by others—and combined with each other. With her radical and ‘democratic’ ideas about material, production and authorship, Charlotte Posenenske influenced and shaped conceptual and minimalist art of the sixties.

Curated by Suzanne Wallinga and Eloise Sweetman and featuring the work of Ruth Buchanan (New Plymouth, 1980) and Yeb Wiersma (Groningen, 1973) in reaction to the work of Charlotte Posenenske.

Also available as a PDF.

Produced on the occasion of I See That I See What You Don’t See, the official Dutch contribution to the XXII Triennale di Milano, 1 March–1 September, 2019. Designed by Rudy Guedj.