Produced on the occasion of the exhibition Konrad Klapheck: Paintings from 1955 to 1998 at Zwirner & Wirth, New York, 8 November – 22 December, 2007.

This first English-language monograph brings together an astonishing group of paintings that span the course of German painter Konrad Klapheck’s six-decade-long career–from his painterly investigations of technological machines and everyday objects such as typewriters, sewing machines and ventilators to his more recent figurative work.

Includes a conversation with Christopher Williams and a text from André Breton. Designed by Christopher Williams.

“Containing, restraining, reforming, hurting, compressing, binding, transforming a lumpy shape into a clean smooth line,” is how American artist Christina Ramberg once described the drawings of corsets in her sketchbooks. Ramberg was one of the most intriguing painters to emerge within a generation of Chicago Imagists. She left a significant body of comic, formally elegant, erotically sinister paintings.

Produced on the occasion of The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 14 September, 2019–5 January 2020. Christina Ramberg’s work was shown alongside of other artistic positions such as Alexandra Bircken, Sara Deraedt, Gaylen Gerber, Frieda Toranzo Jaeger, Konrad Klapheck, Ghislaine Leung, Hans-Christian Lotz, Senga Nengudi, Ana Pellicer, Richard Rezac, Diane Simpson, Terre Thaemlitz, Kathleen White.

With texts from Dodie Bellamy, Kathrin Bentele, Jen George, Larne Abse Gogarty, Anna Gritz, Judith Russi Kirshner & Léon Kruijswijk.

Produced on the occasion of Konrad Klapheck’s 1974 exhibition at the Museum Boijmans Van Beuningen, Rotterdam. Klapheck, who was just 10 when World War II ended, saw in the destroyed cities and ruined buildings all around him a certain beauty or spectacle. After becoming a student at the Düsseldorf Art Academy, Klapheck turned to a different kind of subject matter, creating the first of his many “machine pictures”: the 1955 painting Typewriter. He went on to expand his repertoire to include sewing machines, faucets, telephones, irons, and even a hay-turning machine

Published on the occasion of Klapheck’s 1993 exhibtion at Galerie Lelong, Zurich. Includes the essay by Konrad Klapheck Die Supermutter.

Klapheck, who was just 10 when World War II ended, saw in the destroyed cities and ruined buildings all around him a certain beauty or spectacle. After becoming a student at the Düsseldorf Art Academy, Klapheck turned to a different kind of subject matter, creating the first of his many “machine pictures”: the 1955 painting Typewriter. He went on to expand his repertoire to include sewing machines, faucets, telephones, irons, and even a hay-turning machine.

Klapheck, who was just 10 when World War II ended, saw in the destroyed cities and ruined buildings all around him a certain beauty or spectacle. After becoming a student at the Düsseldorf Art Academy, Klapheck turned to a different kind of subject matter, creating the first of his many “machine pictures”: the 1955 painting Typewriter. He went on to expand his repertoire to include sewing machines, faucets, telephones, irons, and even a hay-turning machine.