Publication produced on the occasion of the exhibtion Man Ray, to commemorate the centenary of the artist’s birth. Travelling to the following locations; Sezon Museum, 29 September–4 November, 1990; Tenjin Daimaru, Fukuoka 14 March–26 March, 1991; Yokohama Museum of Art, 6 April–8 May, 1991; Kyoto Daimaru Museum, Kyoto 15 August– 20 August, 1991.

2 softcover volumes, dedicated to the sculptural practice and photographic practice separately.

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.

Comprehensive survey of early Japanese abstract painting (and photography). Including Koshiro Onchi, Iwata Nakayama, Saburo Hasegawa, Kiyoshi Koishi, Ryuichi Amano, Ei-Q and many more.

Ei-Q (28 April, 1911–10 March, 1960) was a Japanese artist who worked in a variety of media, including photography and engraving.

He was influenced by the Surrealist aesthetic and also published essays promoting photography as an art form independent of painting. This did not imply a rejection of painting, and he worked toward what in 1935 he termed photo-dessins, a fusion of photograms and paintings.

Various artistic trends originating in Europe after World War 1, such as Russian Constructivism, the Bauhaus in Germany and Surrealism in France, left a strong impression on Japanese art and photography in the Taisho and the early Showa periods. In photography in particular, the Western influence brought a new movement called Shinko Shashin (New Photography) in the early Showa period. This exhibition was an attempt at reexamining the visual expression in the period from the perspective of the photographic work of artists from fields other than photography, focusing on the work of Koshiro Onchi, Osamu Shiihara and Ei-Q.

Published on the occasion of Experiment, řád, důvěrnost: Běla Kolářová at Muzeum Umění, Olomouc, 27 September–31 December, 2006.

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.

In recent years, Kolářová’s work was shown at the documenta 12 (2007), at Raven Row in London (2010) and in solo shows at the Museum Kampa in Prague (2008) and Muzeum Umění in Olomouc (2006).