Daan van Golden Photo Book(s) reproduces the photo pages of Van Golden’s earlier books (most of which have long been out of print), as well as two little known photo essays, in their entirety.

The reproduction of preexisting material, the insistent adherence to a set of core elements, gestures and images, the conviction that creating different juxtapositions and interactions between those same elements yields new readings and meaning: these are the hallmark of van Golden’s work, and here for the first time they serve as the organising principle for a book, one whose patient rhythm creates the space for the logic of a practice to establish its sensible presence.

Sunflowers collates seventeen photographs by Gen Kay, taken in her makeshift home studio, which intimately observe and document the natural arc of the sunflower; one moment bold and brilliant, the next reticent and retreating. These photographs invite the viewer to reflect on these iterations and recognise nature’s arresting ability to capture human emotion with nuance. Both a visual metaphor of the transformative times we have endured and an ode to the power of a classical still life image, Sunflowers seeks to trace the dynamic melodies that lie within us all. Limited edition of 100. Hand numbered and signed.

Unbidden Tongues #8: Feelers brings together three photographic series by artist and activist Alexis Hunter. In a storyboard-like fashion, her ‘photo narrative sequences’ forensically detail her manhandling of artefacts of patriarchal oppression through the caressing touch of an array of characters: the Marxist wife, an interventionist secretary and a manicured mechanic. Born in New Zealand, Hunter moved to the United Kingdom in 1972 where, at the age of twenty-four, she joined the Women’s Workshop of the Artists Union and invested devotedly in feminist organising alongside her artistic practice.

Various artistic trends originating in Europe after World War 1, such as Russian Constructivism, the Bauhaus in Germany and Surrealism in France, left a strong impression on Japanese art and photography in the Taisho and the early Showa periods. In photography in particular, the Western influence brought a new movement called Shinko Shashin (New Photography) in the early Showa period. This exhibition was an attempt at reexamining the visual expression in the period from the perspective of the photographic work of artists from fields other than photography, focusing on the work of Koshiro Onchi, Osamu Shiihara and Ei-Q.

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

Sherrie Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images, and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.

Wolfgang Tillmans’ truth study centre became a fixed part of his exhibitions since he first showed a version of the multi-part tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the “truth study centre” works mark an endeavour to create a clear view in ever more confusing times.

Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 198 cm long, and with one of four different standard widths. This book gives an overview, through lavish reproductions, of this new form of collage, in which picture, text and object “are only kept in place by their own weight.” An essay by Thomas McDonough, Professor for Art History at Birmingham University, New York, places Tillmans’ project within the context of twentieth-century collage, from Hannah Höch to Robert Rauschenberg.