This exhibition catalogue presents twenty color illustrations of paintings by the British painter Prunella Clough. Published to commemorate the first German presentation of the artist’s work at June Gallery, Berlin, the book focuses on the artist’s late-career departure from the industrial figuration for which she was known into a wry, quietly influential approach to abstraction. Included are works dated between 1960–1993.

Designed by Dan Solbach.

Produced on the occasion of the exhibition Prunella Clough, The Late Paintings and selected earlier works at Annely Juda Fine Art, London, 1 November–16 December, 2000.

Prunella Clough found her subjects by touring London’s industrial wastelands and bombsites – docks, power stations, factories and scrapyards – creating gritty, urban images. Her work – comprising paintings, collages, drawings, reliefs and graphics – increasingly centred on the components of the cityscape as her art, shifted away from representation through various influences including cubism and European abstraction.

*Please note this publication is secondhand and may have some traces of previous ownership.

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.

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.

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.

Jana Euler’s artistic practice is stylistically varied, at the same time critically incisive, direct and witty, sometimes even silly, always attuned to the social and material bases of her chosen medium. This richly illustrated monograph highlights Euler’s unique approach to producing exhibitions, which the artist has likened to a kind of “body, made up of all the parts that go into the different aspects of exhibiting.” Exhibitionism traces her evolving practice through her own memories and studio archive: surfacing invitation cards, exhibition texts, posters and diagrams, alongside new drawings and collages made especially for the book.