“The husband and wife team of Bernd and Hilla Becher began photographing together in 1959. For close to fifty years, they documented architectural forms they collectively referred to as “anonymous sculpture.” Their extensive series of water towers, blast furnaces, coal mine tipples, framework houses of mine workers, and other vernacular industrial architecture—often technologies on the verge of obsolescence—comprise an in-depth study of the intricate relationship between form and function.”—Fraenkel Gallery.

At the heart of Thomas Ruff’s complex oeuvre is a pioneering conceptual expansion of what constitutes photography. Ruff’s prodigious output varies widely, from analogue portraits to manipulated images appropriated from the internet, digitally-altered archival images and digital photograms. Works by the Dusseldorf-based artist consistently explore how historical and media-driven changes in photography affect our understanding of the relationship between image and reality.

Produced on the occasion of the exhibition Joseph Kosuth 1965 & 1967. Protoinvestigations 1965 & The First Investigations 1967 at Galerie Renée Ziegler, Zürich, 1992.

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

Produced on the occasion of Gerhard Rühm’s exhibition Liederbilder Klangkörper Scherenschnitte at
Galerie beim Steinernen Kreuz Brigitte Seinsoth, Bremen, 19 May–26 June, 1992.

Gerhard Rühm is noted for his work in acoustic art, including sound poetry, spoken word, and photomontage. In the early 1950s he developed a body of work, crossing the boundaries between many different mediums. He also experimented in drawing, visual poetry, and photomontage, using such diverse techniques as overpainting (l’essentiel de la grammaire [The Essentials of Grammar], 1962) and collage (Typocollagen [Type Collage], 1955–1963).

Produced on the occasion of Michael Krebber Zeichnungen at Gisela Capitain, Köln, October –November, 1992.

Produced on the occasion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June–27 July, 1991.

The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.