Exhibition catalogue with artists' projects published in conjunction with shows held at three venues in Ljubljana: the International Centre of Graphic Arts, the Museum of Modern Art, and the National Museum of Slovenia, June 10 - September 28, 2003. ... [details]
Exhibition catalogue published in conjunction with show held May 12 - July 12, 2003. Essay by Linda Norden. Includes exhibition checklist. [details]
Single fold exhibition announcement card published in conjunction with show held October 17, 2003 - January 11, 2004. [details]
Artist's book in the form of a yearly agenda created by Claude Closky in partnership with Gruppo Teseco. Text by Alexandra Midal. Text in English and Italian. [details]
Exhibition catalogue published in conjunction with show held April 1 - May 4, 2003. Text by Haryette Mullen. Includes biography, selected exhibitions, awards and grants, teaching experience and selected collections. ... [details]
"America Drill is a facsimile of Carl Andre''s 1963 poem, America Drill. This poem is based on three interwoven texts, respectively titled Red Cut, White Cut and Blue Cut, and consisting of excerpts of fundamental texts in American History. ... [details]
Large-scale facsimile reprint of Carl Andre's 1963 poem "America Drill: Red Cut, White Cut, Blue Cut," featuring interwoven texts from American history. Red Cut uses text from "Indian History and Genealogy Pertaining to the Good Sachem Massasoit of the Wampanoag Tribe and His Descendents," by Ebenezer W. ... [details]
A charming artist's book by a master of the artists' book. Contains smart essay by Prince, "Collecting: Bringing It All Back Home. A Day in the Life of a Book Collector Suggests that the Impulses Behind Collecting are Part Obsession, Part Quest and Part Fantasy. ... [details]
Exhibition catalogue published in conjunction with show held March 13 - April 12, 2003. Traveled to Inverleith House, Royal Botanic Garden, Edinburgh, Scotland, April 19 - May 25, 2003. Texts by John Giorno and Donna De Salvo. [details]
Roberta Smith called him the "madcap bad boy of contemporary German art" and also "one of the three or four best German artists of the postwar period." Martin Kippenberger disrupted the status quo throughout his too-short, highly excessive life, not just by making art of every variety and medium but also by conducting an extended performance in the vicinity of art that involved running galleries, organizing exhibitions, collecting the work of his contemporaries and overseeing assistants. ... [details]
