Notes on Fundamental Joy; seeking the elimination of oppression through the social and political transformation of the patriarchy that otherwise threatens to bury us holds up the work of JEB, Clytia Fuller, Tee Corinne, Ruth Mountaingrove, Katie Niles, Carol Osmer, Honey Lee Cottrell, and others, documenting a community of women/womyn in their collective embrace of the ‘back to the land’ movement. Through the lens of pervasive image-making—women holding cameras, women taking pictures of women—the project considers the radical potential of social and political optimism predicated on the absence of men.

The book includes a personal essay by writer and artist Ariel Goldberg realized in two parts, understanding the photographs and wider cultural moment through a broader gender lexicon and in the context of trans-exclusionism.

Printed on Igeba IBO One 60gsm, a lightweight semi-transparent paper which allows for the show-through of images between page, creating an exchange and dialog between partially visible photographs.

Produced on the occasion of the exhibition; Pati Hill: Photocopier, A Survey of Prints and Books (1974–83), 4 November, 2017–4 March, 2018.

This publication considers the first phase of the cross-disciplinary art of Pati Hill (1921-2014). Although her exploration of the copier, which she called “a found instrument—a saxophone without directions,” did not begin until the early 1970s, Hill is regarded as a pioneer due to her singular approach and commitment to the medium.

Employing the copier to record items as common as a gum wrapper or as unexpected as a dead swan, she also applied the process to transform appropriated photographs for her experiments with narrative. This catalogue features twelve different projects, including Hill’s attempt to photocopy the palace and grounds of Versailles.

Produced on the occasion of Jochen Lempert’s exhibition Plant Volatiles at BQ, Berlin in 2016.

“While factual science will never be able to embrace the enchantments of nature, Lempert’s photographs meet up with them when showing swarms of animals, where individuals dissolve and become part of a new form, or when picturing insects as foreign bodies within a context they do not belong to and the coherence of which they irritate. As frozen ephemeral appearances breaking up not only the formal coherence of the image but also its meaning and representational function, they are symbols of time and of the ever impenetrable secret of all living.”—Mousse magazine review, available here.

Produced on the occasion of the exhibitions Pictures of the Real World (In Real Time) curated by Robert Nickas at The Consortium, Dijon; Paula Cooper Gallery, New York;  Le Capitou, Fréjus; Städtische Galerie, Göppigen; Galleria Massimo de Carlo, Milano, presenting On Kawara’s Date paintings in relation to various contemporary photographs.

Featuring the following artists; Dan Graham, Diane Arbus, Garry Winogrand, Douglas Huebler, Lee Friedlander, Larry Clark, William Eggleston, Nan Goldin, Peter Hujar, Jan Groover, Peter Campus, James Welling, Cindy Sherman, Sherrie Levine, Richard Prince, Barbara Bloom, Louise Lawler, Sam Samore, John Coplans, Barbara Ess, Andres Serrano, David Robbins, Jeanne Dunning, Zoe Leonard, Félix González-Torres, Philip-Lorca Di Corcia, Charles Ray, Robert Barry, Danny Lyon.

Produced on the occasion of Allan Sekula: Photography at work at Beirut Art Center. The late american artist was an influential photographer, writer, filmmaker, theorist and critic whose works have been a unique reference in debates and conversations about photography, art and politics for over 40 years. Allan Sekula’s work is largely invested in social and economic critique, particularly regarding the politics of global commodity exchange and economic processes. Sekula began exploring the american middle-class of the West Coast at the time of late modernism and in its wake. Turning his camera to his own surroundings allowed him to discover the world he was living in, and assess that staging reality critically was the best way to document it. As an artist, he considered photography a medium for continuous social engagement and action.

Produced on the occasion of Christopher Williams: Couleur Européenne, Couleur Soviétique, Couleur Chinoise at Museum Haus Lange & Haus Esters, Krefeld, 22 October, 2000–1 January, 2001.