This catalogue is published on the occasion of Isa Genzken’s exhibition Early Works that took place at Galerie Buchholz Berlin gallery in 2013. The book contains a new essay by Benjamin H.D. Buchloh, both in English and in German as well as an extensive documentation on the artist’s early work starting in the late 1960s.

Published on the occasion of the exhibition of Tomma Abts at Galerie Buchholz, 2017. It animates the artist’s 7 part series of drawings Untitled #1–7, 2016 as a sequence.

This latest book by the artist Moyra Davey is based on two related group of works, Les Goddesses (2011) and Hemlock Forest (2016), which each take form through text, photography, and film. Layering introspection and personal narratives with meditations on the lives and works of other writers, filmmakers, and artists—ranging from 18th-century feminist writer and activist Mary Wollstonecraft to Chantal Akerman, and Moyra Davey’s own five sisters. The book is conceived and published in collaboration with the artist Galerie Buchholz and Dancing Foxes Press. The book contains, alongside numerous reproductions, an introductory text by Aveek Sen and transcriptions of the texts for both film projects by the artist.

Published on the occasion of two exhibitions, one at Galerie Daniel Buchholz in Cologne and the other at Greene Naftali in New York, that presented a group of works by artist, filmmaker and musician Tony Conrad entitled “Yellow Movies”. Alongside an introductory note by Tony Conrad that served as a press release for the two gallery exhibitions, the book contains a new text by Diedrich Diederichsen and a comprehensive documentation of all the “Yellow Movies” still in existence. The catalogue is produced in collaboration with Galerie Daniel Buchholz and Greene Naftali.

“Yellow Movies,” is the title of a series of works in which Conrad explored the intersection of film and painting. He conceived of these works not as paintings but as films of incredibly long duration, devoid of the action or narrative typically associated with Hollywood cinema. When the works were first debuted in 1973, Conrad referred to their installation as a “screening.” To make this work, and others like it, he painted a rectangle of cheap house paint on paper and framed it with a black border. Over time the central painted rectangle will slowly yellow, much in the same way film emulsion does. This yellowing happens with or without exposure to light; it is always “screening,” as the passage of time itself actively marks its surface.

Design by Yvonne Quirmbach.

Spanning more than three decades, “In Part” brings together a full spectrum of the New York–based artist, writer and activist Julie Ault’s published texts through selected extracts in a single volume. Reprinted in chronological sequence alongside a selection of full-length texts, this series of excerpts offers a timeline of Ault’s artistic development, longstanding political concerns and dynamic interpersonal affinities. The book is edited by Julie Ault and Nicolas Linnert and has an introductory text by Lucy R. Lippard. The book is published in collaboration of Dancing Foxes Press and Galerie Buchholz.