Produced on the occasion of the exhibition Yvonne Rainer: Space, Body, Language at the Kunsthaus Bregenz, 4 February–9 March, 2012. This many-sided project offered detailed and far-ranging insight into the legendary work of Yvonne Rainer, Presenting photographs and film documentations of stage works, notebooks, dance scores, scripts, and movie and exhibition posters.

With essays by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, and Catherine Wood.

Chapter 24 illustrates 61 paintings from the exhibition of the same name at the Museum Abteiberg in Mönchengladbach, Germany, 3 June–4 November, 2012. This latest chapter employs a variety of images directly related to Museum Abteiberg and Mönchengladbach. Many of the paintings are made from the museum’s image archive, and photographs taken by the artist of works in the permanent collection. These images are presented alongside several small portraits of their custodian, chief curator Hannelore Kersting.

The boxed set of 61 cards depicts each painting accompanied by corresponding notes written by the artist about each image. Additionally, the box includes an essay on Chapter 24 by Mark Godfrey, a facsimile of Yve-Alain Bois’ early essay The Tree and the Square, plus the original 1977 version L’arbre et le carré, and a new German translation. The box format is a direct reference to the famous catalogues published by the Museum in Mönchengladbach under the direction of Johannes Cladders.

Drawing was of primary importance to Truitt throughout her life as an artist. The earliest works in this book, the first exclusively devoted to her works on paper, date from the early 1960s, when she first developed the sculptures in painted wood for which she is best known, while the latest works date from 2002, the year before she died. Illustrated in full colour, these drawings include the full range of Truitt’s drawing techniques, including graphite, ink, pastel, and acrylic on paper.

This companion publication to Luke Fowler’s film of the same name features essays by architecture critic and cultural commentator Owen Hatherley and historian Tom Steele.

Lending additional context to Fowler’s study of the activist/historian E.P. Thompson, it brings further illuminating insights to Thompson’s life and times, and his lingering influence as a champion of workers’ education. Evoking the design of a Workers Educational Association textbook from a similar era, this illustrated pocket-sized publication acts as a resonant echo of Fowler’s work.

A trailer for the film can be seen here.

Retour d’y voir is the art history review published by the Mamco, Geneva. The 5th issue is entirely dedicated to Philippe Thomas: analysis (Michel Gauthier, Jean-Philippe Antoine, Robert Storr, Stéphane Sauzedde, Christophe Kihm, Érik Verhagen, Guillaume Leingre, Claire Fontaine, Judith Ickowicz, Émeline Jaret) and testimonies (Claire Burrus & Émeline Jaret, Sylvie Breton & Dominique Païni, Daniel Bosser, Jacques Salomon, Bernard Blistène, Daniel Soutif, Ghislain Mollet-Viéville).

Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts.

Produced on the occasion of Stephen Willats’ exhibition, Surfing with the Attractor at South London Gallery, 1 June–15 July, 2012. Containing essays by John Kelsey, Tom Morton and Stephen Willats and a conversation between Stephen Willats and Margot Heller.

More information on the exhibition can be found here.