“The films of Nathaniel Dorsky blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. Their luminous photography emphasizes the elemental frisson between solidity and luminosity, between spirit and matter, while his uniquely developed montage permits a fluid and flowing experience of time. Dorsky’s films reveal the mystery behind everyday existence, providing intimations of eternity.”—Steve Polta, San Francisco Cinematheque.

In Devotional Cinema, Dorsky moves through meditations on image-moments in works by key filmmakers (Carl Theodor Dreyer, Yasujiro Ozu, Michelangelo Antonioni, and Roberto Rossellini), and arrives at the heart of what constitutes a devotional practice.

Poster produced on the occasion of the exhibition stanley brouwn at FAHRBEREITSCHAFT, Berlin, 1 May, 2014–4 April, 2015. Edition of 100.

Produced on the occasion of stanley brouwn’s participation in the 1982 Venice Biennale. Introduction by Jan Debbaut and texts by Gijs van Tuyl and Rini Dippel.

Phillip King (born 1 May 1934) is a British sculptor, one of Anthony Caro’s best known students, their education followed similar trajectories and they both worked as assistants to Henry Moore. Following the “New Generation” show at the Whitechapel Gallery, both Caro and King were included in the seminal 1966 exhibit, “Primary Structures” at the Jewish Museum in New York.

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

Phillip King (born 1 May 1934) is a British sculptor, one of Anthony Caro’s best known students, their education followed similar trajectories and they both worked as assistants to Henry Moore. Following the New Generation show at the Whitechapel Gallery, both Caro and King were included in the seminal 1966 exhibit, Primary Structures at the Jewish Museum in New York.

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

Accompanying a series of solo collaborations in 2020, this publication offers the first comprehensive and global perspective on Jeremiah Day’s work as an artist, performer, researcher and teacher. As it details Day’s specific works and evolution between visual and performing arts and between political reflection and engagement the result also serves as sourcebook for the legacy of the intersection between dance and the visual arts of the 1960s and 70’s and the models of cultural practice emerging from the work of Hannah Arendt.

Texts by Alain Cueff, Fred Dewey, Jan Verwoert, Angelika Stepkien, Julia Robinson. Designed by Will Holder.