“The husband and wife team of Bernd and Hilla Becher began photographing together in 1959. For close to fifty years, they documented architectural forms they collectively referred to as “anonymous sculpture.” Their extensive series of water towers, blast furnaces, coal mine tipples, framework houses of mine workers, and other vernacular industrial architecture—often technologies on the verge of obsolescence—comprise an in-depth study of the intricate relationship between form and function.”—Fraenkel Gallery.

At the heart of Thomas Ruff’s complex oeuvre is a pioneering conceptual expansion of what constitutes photography. Ruff’s prodigious output varies widely, from analogue portraits to manipulated images appropriated from the internet, digitally-altered archival images and digital photograms. Works by the Dusseldorf-based artist consistently explore how historical and media-driven changes in photography affect our understanding of the relationship between image and reality.

Produced on the occasion of the exhibition, Allan Sekula: Dismal science, photoworks, 1972-1996 at the Nederlands Foto Instituut, Rotterdam. With texts from Allan Sekula and Benjamin H.D. Buchloh.

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

Produced on the occasion of the travelling exhibition Michael Snow: Works 1969-1978, Films 1964–1976 at Kunstmuseum Luzern, 4 March–22 April 1979; Rheinisches Landesmuseum Bonn, 2 August–9 September 1979; and Städtische Galerie im Lenbachhaus München, 16 October – 25 November 1979.

Michael Snow (1928–2023) was one of the world’s leading experimental filmmakers, having inspired the Structural Film movement with his groundbreaking film Wavelength, 1967. Snow’s extensive and multidisciplinary oeuvre includes painting, sculpture, video, film, sound, photography, holography, drawing, writing, and music.

Produced on the occasion of Thomas Struth’s exhibition at andriesse eyck galerie, Amsterdam, 8 September–13 October, 2018.

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

Produced on the occasion of Richard Prince’s exhibition The Magic Castle 1968–1969 at Le Consortium, Dijon, in 2011, based on a series of photographs taken when he was student in France. With a text by Richard Prince.

American artist Richard Prince recycles found materials from American popular culture, most often images from advertisement and magazine photography which he re-photographs, silkscreens, overpaints, frames, enlarges, or arranges in collages, playing with their somehow empty meaning.