Produced on the occasion of Christopher Williams: Werbung: A 48 hour display of quality framing materials at Maxwell Graham, New York, 15 – 17 December, 2023, which presented for the first time, Provisional Prop: Formal Public Disclosure and marked the announcement of the availability of Christopher Williams’ adaptation of Franz Xaver Kroetz’s 1971 play Inklusive for broadcast on radio, along with wall coverings, radio, printed matter, picture frames, photographs, films, and arrangements. Presented within a 48 hour time frame, these elements constitute a staging of materials for submission to the public record.

Printed and bound in an edition of 500 by Aaron Flint Jamison and Emily Johnson at Yale Union on the occasion of TOM TIT TOT, October 5-December 6, 2013, curated by Andrea Anderson and Robert Snowden. Typeset in Times New Roman by Susan Howe. Cover typeset in Caslon by Emily Johnson and Scott Ponik.

Apart from her poetry, Susan Howe is the author of two landmark books of literary criticism, My Emily Dickinson and The Birth-mark: Unsettling the Wilderness in American Literary History, and three records with David Grubbs.

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

Produced on the occasion of the exhibition Yayoi Kusama New York/Tokyo held at the Museum of Contemporary Art Tokyo in 1999. This two-volume collection (Love Forever Yayoi Kusama 1958-1968 & In Full Bloom Yayoi Kusama Years in Japan) contains paintings, photo collages, and sculptures created in both New York and Tokyo over the artist’s career.

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

Produced on the occasion of the exhibition Anna Oppermann: Ensembles at Württembergischer Kunstverein, Stuttgart, 17 April 17 – 12 August, 2007 and the Generali Foundation, Vienna, 28 August – 16 December, 2007.

In the late sixties German artist Anna Oppermann (1940–1993) began creating installations, which she called Ensembles, containing references to Pop Art, Arte Povera, and Conceptual Art. Assembled using found objects, photographs, sketches, personal texts, quotations, and coloured photographic screens, these installations were often misinterpreted by contemporaries as purely biographical statements.

“A sense of art history is part of the critical basis on which artists construct ‘a future’ of art. But the question is, which sense of art history will be shaping that future? Art history has always been far too important to be simply left up to art historians.”
— Ian Burn, 1985

This presentation is organised by Robert Milne and includes a work by Ian Burn from 1989, exhibited with selected publications and other documentation, to coincide with the release of the new book. The Estate of Ian Burn is represented by Milani Gallery, Meanjin/Brisbane.

Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—and, as he once described himself in a moment of self-deprecating alienation, ‘an ex-Conceptual artist’. This volume brings together a diverse collection of Burn’s writings that reveals a probing, analytical artist who turned to language to articulate the need for ‘looking at seeing and reading’, who pursued a Marxist politics in the face of neoliberalism and who sought to occupy and transform the margins of landscape painting. The publication includes previously unpublished material and offers a prescient rethinking of art in a decentered world through what Burn called ‘peripheral vision’.

Ian Burn: COLLECTED WRITINGS 1966–1993 is edited by Ann Stephen and designed by Robert Milne, with contributions by Art & Language, Adrian Piper, Paul Wood, Allan Sekula, and Mel Ramsden.