Produced on the occasion of Seth Siegelaub: Beyond Conceptual Art at the Stedelijk Museum, Amsterdam, 12 December, 2015–16 April, 2016. An overview of the life and work of the art pioneer, collector and publisher, Seth Siegelaub, one of the key figures of early conceptual art.

Produced on occasion of Jacob Kassay’s exhibition at R.M. Schindler’s Fitzpatrick-Leland House in Los Angeles, 26–27 September, 2015.

This artist’s book has been developed as an index—with relative digitally drawn blueprints, structural diagrams and basic dimensional specifications—for the entire series of wooden stretchers that are part of “Remnants,” previously exhibited at The Kitchen and 303 Gallery in New York (2013).

“Recuperating leftover pieces of canvas that remain from those he cuts and stretches, Jacob Kassay found himself […] with a collection of scraps that still had value. More specifically, these scraps were of value to Kassay because they indexed his system of production. Once again, he seized upon a system that fetishizes his hand but discounts any aesthetic decision. These canvas forms, which Kassay calls ‘remnants,ʼ were made negatively through the creation of silver paintings and other works.”—Peter Eeley

Published in conjunction with an exhibition at Kunstverein München, this catalogue is presented as an integral part of the show, augmenting it through the presentation of subjects, aspects, and themes which are better suited to the printed medium or demand another kind of involvement. Anne-Mie Van Kerckhoven’s works involve painting, drawing, digital media, and video, and reflect her fascination from a female point of view with the representation of women in mass media, the connections between sex and technology, different knowledge systems, and the unconscious. Besides numerous works, projects, and images, the book includes insightful explanations by the artist.

Designed by Julie Peeters.

Produced on the occasion of Jochen Lempert’s first solo exhibition in the United States , a major survey at Midway Contemporary Art, Minneapolis, 3 February–31 March 2012 and and Rochester Art Center, 4 February–22 April, 2012. With a text by Chris Sharp.

Images of the exhibition can be found here.

Produced on the occasion of Cathy Wilkes’ 2015 exhibition at the Tate Liverpool, the largest and most comprehensive display of work to date, bringing together more than a decade of the artist’s acclaimed work, including several of her large-scale sculptural installations alongside paintings, works on paper and archive materials.

Best known for her imaginary environments which recall poetic visions, her installations evoke places of loss or transformation. Her work is occupied by beings, often of unspecified gender: infants, elders and animals. It includes collections of objects and treasured ingredients accumulated from daily life, for example baking parchments, cloths, towels, cups and plates and biscuits.

Dean’s work is often concerned with the play of legibility through the creation of private lexicons. The relation between spoken word performance and its graphic representation, often in the form of private, personal and self-made typefaces, is one key to his work. The otherwise mute objects are inscribed, via clues, or fragments of lettering, with a personalised form of writing, which gives the opportunity of animating the artwork. Here the book operates as a form of sculpture, inscribed with both a personal and bodily form, to be read, spoken or carefully deciphered. Designed by Michael Dean, with Fraser Muggeridge.

‘NOW LEAVES describes leaving and having left. Glossolalia like, against noise, about the bones of a writing, written in tongue graphics legible by reason of the trees with as many words as there are leaves. The percussion of these leaves is f***ing news. The percussion of these leaves is not his news. The percussion of these leaves is not her news. The percussion of these leaves is definitely not their news.’ – Michael Dean

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