Produced to accompany John Knight’s site-specific project 87º at the Storm King Art Center. Installed on Storm King’s Museum Hill, it comprised of a telescope—similar to those used by tourists at scenic overlooks—and the view through the telescope’s lens. When directed toward the 87 degrees of the work’s title, the telescope focuses in on a rounded water tower, erected by the former Star Expansion Company in 1958, just south of Storm King’s property. In prioritizing this viewpoint, Knight conceptually connects Storm King’s pastoral hills with the industrial production just beyond them. Star Expansion Company, which manufactured industrial fasteners, was owned and operated by the family that founded Storm King.

Folded newspaper with drawings, edition of 300.

Marc Nagtzaam has been producing a body of work that is based on one main subject: the idea of pattern, the repetition. He draws lines, grids, circles, words or sentences as in an endless search for collecting pieces of information.

The intersection of motherhood and creative life is explored in these writings on mothering that turn the spotlight from the child to the mother herself. Here, in memoirs, testimonials, diaries, essays, and fiction, mothers describe first-hand the changes brought to their lives by pregnancy, childbirth, and mothering.

Contributors include Margaret Atwood, Lydia Davis, Annie Ernaux, Mary Gaitskill, Susan Griffin, Nancy Huston, Jane Lazarre, Ursula K. LeGuin, Margaret Mead, Toni Morrison, Tillie Olsen, Alicia Ostriker, Grace Paley, Sylvia Plath, Adrienne Rich, Sara Ruddick, Mona Simpson, Susan Rubin Suleiman, Alice Walker, Joy William and many more.

Artist book by stanley brouwn, produced by the Stedelijk Museum voor Actuele Kunst, Ghent in 2001.

Produced on the occasion of Tip of the iceberg: selected works 1985–2001 at the University Art Museum, University of Queensland, 16 February–28 March, 2001 and The Ian Potter Museum of Art, The University of Melbourne, 3 July–9 September, 2001.

Working together since the early 1980s, Janet Burchill and Jennifer McCamley have developed an expansive framework of formal and thematic concerns drawing broadly on the histories of art and design, film, literature and cultural theory. Influenced by feminism, and applying an appreciation and critique of modernism, they make visually stunning artworks across an ever-expanding repertoire of mediums—from painting and sculpture, photography and printmaking, to neon light and textile works.

Produced on the occasion of Josephine Pryde’s exhibition Serena at Kunstverein Braunschweig, 28 April–10 June, 2001.

Pryde’s work attacks stock photographic aesthetic by technically reworking and reconfiguring images and by addressing the conditions of their display. The surfaces of glossy fashion photographs are disrupted by the insertion of aluminium tubes, which emphasise their ‘objectness’ and their status as artworks. Colourful photoshop juxtapositions of MRI scans of the human foetus and macro-lens desertscapes are unnervingly loaded. They refer to the history of darkroom experimentation and to contemporary medical-imaging techniques. Pryde doesn’t reject the language of photographic imagery, rather she adopts it and layers it up. Her guinea pig portraits are inspired by ‘cute pet photography’ but her choice of subject conjures associations with laboratory research.

Texts by Pamela M. Lee, Pauline van Mourik Broekman and Josef Strau.