Promotional card produced Buchholz + Schipper, Cologne, documenting John Armleder’s work O.T. 1990.

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

Produced on the occasion of the opening John Armleder’s exhibition Travaux sur papier 1966-1989 at Galerie Marika Malacorda, Geneva, 25 February, 1993

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

Produced on the occasion of the exhibition Situates, 1975–1979 at Associated Publishers, Amsterdam, 15 May–16 June, 1993.

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

Produced on the occasion of Gianni Versace women’s collection Fall Winter 1993–94. Featuring the photography of Bruce Weber, Richard Avedon and Steven Meisel. Catalogue 25.

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

Prague-based artist Běla Kolářová (1923–2010) began experimenting with photographic techniques in the early 1960s, creating photograms and X-ray photographs that continued the Bauhaus tradition of photography as an abstract medium. Thus, for a series of photograms she called vegetages, she produced miniature “artificial negatives” by pressing natural materials into soft paraffin and using them for the exposure of the photographic paper instantaneously as “negatives.” In the late sixties Kolářová increasingly began creating assemblages out of found objects including household items such as snap fasteners, needles and safety pins. Kolářová arranged these objects according to conceptual grids, and thus they are somewhat akin to the work of Nouveaux Realistes as well as to various conceptual practices. The work she produced in this way defied the aesthetic canon of Socialist Realism, and Kolářová developed a remarkable conceptual feminist style that was all her own.

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

Conceived as the second edition to Weiner’s Works (1977), Specific & General Works presents a broad selection of purely textual works by Lawrence Weiner from 1968 to 1993.

Weiner’s body of work has at its core a fundamental questioning of the conventions of objecthood in relation to the producer and its viewer. He used language as the primary medium for his works since the late 1960s. Presented in capital letters, his structures consisting of language, or text fragments, often accompanied by graphic marks and lines, have been exhibited around the world and interpreted into numerous languages.