Driven by the central question “What are we learning from artists today?” the first volume of the new series edited by Anthony Huberman and Jeanne Gerrity at the CCA Wattis, A Series of Open Questions, is informed by themes found in the work of Dodie Bellamy, such as contemporary forms of feminism and sexuality, the rebirth of the author, and ways in which vulnerability, perversion, vulgarity, and self-exposure can be forms of empowerment. With texts By Sara Ahmed, Nicole Archer, Georges Bataille, Dodie Bellamy, Michele Carlson, Thomas Clerc, Combahee River Collective, Bob Flanagan, Ursula K. Le Guin, Johanna Hedva, Glen Helfand, Juliana Huxtable, Alex Kitnick, Julia Kristeva, Audre Lorde, Lisa Robertson and comprises a broad array of contributions by Marcela Pardo Ariza, Justin G. Binek, Kaucyila Brooke, Tammy Rae Carland, Mary Beth Edelson, Mike Kuchar, Anne Mcguire, Patrick Staff, Frances Stark, Rosemarie Trockel.

Designed by Scott Ponik.

The New Zealand-born artist Fiona Connor makes sculptural installations in which she replicates objects and structures of everyday life. Her recreations of bulletin boards, drinking fountains, furniture, and doors not only draw attention to these widely overlooked items and their forms, they also reconstruct the histories and micro-economies of communities. Many of her works respond to the infrastructure of the places and environments where she exhibits them, uncovering the underlying mechanisms that may inform our interactions with art and art institutions.

Texts by Sarah Lehrer Graiwer, Travis Diehl, Jan Bryant, and Kimberli Meyer. Designed by Fount–via.

Invitation produced on the occasion of Marc Camille Chaimowicz’s exhibition Dear Valérie… at Kunsthalle Bern, 22 February–26 July, 2020. Including works from the 1970s to the present. The exhibition focused on rarely shown works and bodies of works which have never been presented together before.

Exhibition booklet roduced on the occasion of Pati Hill: Something other than either at Kunstverein München, 7 March–16 August, 2020, Pati Hill’s first posthumous institutional solo exhibition in Europe. Hill left behind an artistic output spanning roughly 60 years and encompassing various disciplines. Untrained as an artist, she began to use the photocopier as an artistic tool in the early 1970s and continued to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text.

The exhibition also considers her writing, publishing, and editing as practices that both question and accompany the visual work. As a fragmentary, necessarily incomplete index of her engagement with image and text (re-)production, the show includes published novels, poems, sketchbooks, unpublished manuscripts, and letters in addition to the xerographs.

A PDF of the booklet can be found here.

Natural Enemies of Books is a response to the groundbreaking 1937 publication Bookmaking on the Distaff Side, which brought together contributions by women printers, illustrators, authors, typographers, and typesetters, highlighting the print industry’s inequalities and proposing a takeover of the history of the book. Edited by feminist graphic design collective MMS, the publication includes newly commissioned essays and poems, conversations with former typesetters Inger Humlesjö, Ingegärd Waaranperä, Gail Cartmail, and Megan Downey, and reprints of the original book and other publications.

A catalogue of the extensive retrospective exhibition The Absence of Mark Manders at the Bonnefanten Museum, Maastricht. The rooms in the exhibition can be regarded as the spaces of the artist’s ongoing work ‘Self-portrait as a building’. The works have been “left behind” by the artist in three different zones: the visitor enters a living room, then the museum, and finally the studio. According to Manders, all of these works are interchangeable and can be put into a different context, “like words in a sentence can also be used in different combinations”. A text by Douglas Fogle focuses on the role of language in Manders’s oeuvre.