Produced on the occasion of the exhibition at Fondation Nationale des Arts Graphiques et Plastiques, Paris, 3 October–2 December, 1990; Musée Cantini, Marseilles, 14 December, 1990–27 January, 1991; Arnolfini Gallery, Bristol, 21 March–7 May, 1991; Sala Parpalló, Valencia, June – July, 1991.

Pierre Klossowski was a French writer, translator and artist. A prolific late in life artist who was internationally acclaimed for his writings and translations on Sadeian erotic expression, Klossowski is a pivotal yet underrepresented figure in the history of 20th-century art, often overshadowed by his earlier literary work and his younger brother, Balthus. Primarily working with pencil and charcoal, the laborious drawings he produced reference a variety of subjects, including Greek mythology, Sadean decadence, medieval fantasy and sexualized scenarios involving a recurring female figure, Roberte. These imagined scenes depict a perplexing and intriguing array of mature, familiar and fantastical situations involving cartoonish human figures set in fictitious landscapes that uniquely relate back to the dystopic realities he creates.

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

Produced on the occasion of the exhibition Sigurdur Gudmundsson at Galerie Paul Andriesse, Amsterdam, 2 September–29 September, 1990.

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

Produced on the occasion of the exhibition Marcel Broodthaers: L’Invitation au Voyage at the Vrije Universiteit, Amsterdam, 10 September–27 October, 1990. Curated by Hendriekje Bosma. Initiated and coordinated by Jan Mot

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

Produced on the occasion of the exhibition Cady Noland & Félix González-Torres: Objekte, Installationen, Wandarbeiten at Neue Gesellschaft für Bildende Kunst (NGBK), Berlin, 17 December, 1990–30 January, 1991 and Museum Fridericianum, Kassel, 8 February–17 March, 1991.

With a textcollage by Robert Nickas, essays by Jan Avgikos Art/Artifact/Fact, Kirby Gookin From the (S)melting Stink Pot, David Deitcher Blue Jeans and Death by Gun and two interventions by the artists: Textpieces by Félix González-Torres and Arbeitskopien by Cady Noland.

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

A compendium to the widely traveled installation of the same title, this book guides us through the “set” of a 19th century museum room where all aspects of what we see are covered with traces of the artist’s likeness. (Self) portraits which take the form of vanity mirrors, watermark porcelain tea cups, chocolates, cameos, designs for her tombstone commemorative stamps showing the hospital where the artist was born, even period chairs upholstered with a cloth pattern of the artist’s dental X-rays. The texts delve us into the worlds of Hegel on The Greek Profile, Virginia Woolf’s The Lady in the Looking Glass, Ovid’s myths of Echo and Narcissus, Bruce Chatwin’s Utz, and Wilde’s Picture of Dorian Gray. The overall effect of this elegant, subtle and ironic work is ultimately quite eerie.

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

From daughter to woman—between the symbolic structures of patriarchy and libidinal-physical dependence on the father—Frauen und Film 48 explores this dual position of female socialization in various contributions.

Teresa de Lauretis proposes alternative readings of the Oedipus myth. Tanja Modleski examines the subtexts of femininity in Hitchcock’s shrill portrayals. Heide Schlüpmann demonstrates, in William Wyler’s film The Heiress , how technical and formal spatial constructions are mediated by the hierarchies of the father-daughter relationship. Renate Lippert takes up the incest motif in Polanski’s Chinatown.

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