Produced on the occasion of the exhibition Past Imperfect: 1972-1982 – Marc Camille Chaimowicz at Bluecoat Gallery, Liverpool; Orchard Gallery, Derry & John Hansard Gallery, Southampton.
Texts by Jean Fischer, with an essay by Stuart Morgan.
Produced on the occasion of the exhibition Past Imperfect: 1972-1982 – Marc Camille Chaimowicz at Bluecoat Gallery, Liverpool; Orchard Gallery, Derry & John Hansard Gallery, Southampton.
Texts by Jean Fischer, with an essay by Stuart Morgan.
Produced on the occasion of John Knight’s exhibition at The Renaissance Society, Chicago, 1983. Including an in-depth essay by art historian Anne Rorimer. Her investigation of Museotypes, the particular piece conceived for Knight’s Renaissance Society exhibition, points to its specific implications while her consideration of related earlier pieces further demonstrates the character and development of his work in general.
A PDF of the catalogue can be found here.
Produced on the occasion of Peter Voulkos: Super Clay (organized by Hiroshi Matsubara and Junji Suzuki of Point View, Tokyo, at Art Center Hall, Tokyo, 23 May–1 June, 1983, and travelling to Kyoto Art University and the Tokoname Ceramic Research Center.
Peter Voulkos was known for his abstract expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art. Between 1954 and 1959, he headed the ceramics department at the Otis College of Art and Design. Otis clay, as the legendary work produced by Voulkos, John Mason, Michael Frimkess, Henry Takemoto and several others came to be called, represented the first artistic movement in Los Angeles to generate sustained national enthusiasm and influenced a younger generation of West Coast ceramicists.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of Vivian Suter’s exhibition at Kunstmuseum des Kantons Thurgau, Kartause Ittingen, 1983.
Baudrillard’s bewildering thesis, a bold extrapolation on Ferdinand de Saussure’s general theory of general linguistics, is in fact a clinical vision of contemporary consumer societies where signs don’t refer anymore to anything except themselves. They all are generated by the matrix.
Translated by Phil Beitchman, Paul Foss and Paul Patton.
Produced on the occasion of Rosemarie Trockel Plastiken 1982–1983 at Monika Sprüth Galerie, Cologne, Germany and Rosemarie Trockel at Galerie Philomene Magers, Bonn, Germany, 1983.
Text (in German) by Wilfred W. Dickhoff. Photography Bernhard Schaub. Designed by Betrieb Am Niehl.