Five hundred Herzog & de Meuron projects from all over the world in one book, one picture each, text by Michel Kessler in English and German. Limited edition of 2,000 copies, numbered from 1/2000 – 2000/2000. Each book is bound in a unique screen-printed 100% linen cover with horizontal colours.

A chance find at a flea market in the 1970s led to the genesis of a unique collection that meantime embraces more than 500,000 photographs. Today Ruth and Peter Herzog are among the most important photograph collectors worldwide. The holdings date from the early days of the technology, invented in 1839, and extend into the 1970s. They include not only the famous pioneers of the medium, like Nadar and Eadweard Mubridge, but also so far less known or anonymous photographers. The publication provides the first comprehensive portrait of this fascinatingly diverse collection, which since 2015 is being conserved and scientifically appraised at the Jacques Herzog and Pierre de Meuron Kabinett in Basel. Thematic focal points are presented on the basis of about 300 selected objects. The texts focus on major themes of photography such as its tense relationship with art or that between photography and historiography.

In the winter of 1974, filmmaker Werner Herzog made a three week solo journey from Munich to Paris on foot. He believed it was the only way his close friend, film historian Lotte Eisner, would survive a horrible sickness that had overtaken her. During this monumental odyssey through a seemingly endless blizzard, Herzog documented everything he saw and felt with intense sincerity. This diary is dotted with a pastiche of rants about the extreme cold and utter loneliness, notes on Herzog’s films and travels, poetic descriptions of the snowy countryside, and personal philosophizing. What is most remarkable is that the reading of the book is in continuity with the experience of watching his films; it’s as if, through this walk, we witness the process in which images are born.

The Walker Art Center recently opened its expanded space, which includes a new theater, a new restaurant, and more galleries, but is best known for being Herzog & de Meuron’s first public building in the United States. The project drew national coverage from media including “The New York Times. Expanding the Center” caters to and piques public interest in the building with a generous selection of images, including sketches, renderings, and photographs of the construction process and the completed work. Herzog & de Meuron’s shimmering but grounded design mirrors the textures and shades of the Center’s original space, and an institutional philosophy based in innovation and risk-taking, the exploration of alternative approaches to learning, the experimental use of technologies to communicate information, and the design of spaces to enhance a variety of museum experiences. The book is organized around the decisions and actions of the architects, builders, Center staff, and the audience

Werner Herzog was born Werner H. Stipetic in Munich on September 5, 1942. He grew up in a remote mountain village in Bavaria and never saw any films, television, or telephones as a child. He started traveling on foot from the age of 14. He made his first phone call at the age of 17. During high school he worked the night shift as a welder in a steel factory to produce his first films and made his first one in 1961 at the age of 19. Since then he has produced, written, and directed more than 40 films–including Fitzcarraldo, Nosferatu, Cobra Verde, Even Dwarves Started Small, My Best Fiend, and Aguirre, the Wrath of God–published more than a dozen books of prose, and directed as many operas. This publication presents Herzog through essays by friends and colleagues like actress Claudia Cardinale, who starred in Fitzcarraldo, and German director Volker Schlöndorff, as well as through photographs by cinematographer Beat Presser, many of them never before published. Edited by Beat Presser. Essays by Claudia Cardinale, Volker Schlondorff, Herbert Achternbusch, Peter Berling, Hans Helmut Prinzler and Lena Herzog.

The Fifty Word Review succinctly summarized Harmony Korine’s upcoming film, Mister Lonely, thus: “A Mexican Michael Jackson falls for Marilyn Monroe (Samantha Morton) married to Charlie Chaplin–all living in a Scottish commune along with the Queen, James Dean and Lincoln. Mister Lonely is a strange tragic-comedy about the world of celebrity lookalikes from the writer of Kids. Watch it for Werner Herzog–oddly brilliant in the intermittent but inexplicable parallel drama as a Catholic missionary in South America.” This volume contains the complete original filmscript, as well as a selection of black-and-white documentary photographs from the set–nuns on the beach, a priest in a bathtub, Abe Lincoln on a tractor, Michael Jackson at a café, on a dirt bike, under the infamous medical facemask.

Presented in an oversized format with a specially bound case with three-dimensional finishes, 1000 beautiful duotone photographs throughout bring the graphic strength, emotional power, and compelling architectural presence of Brutalism to life. From 20th century masters to contemporary architects, much-loved masterpieces in the UK and USA sit alongside lesser-known examples in Europe, Asia, Australia, and beyond – 102 countries in all. Twentieth-century masters included in the book: Marcel Breuer, Lina Bo Bardi, Le Corbusier, Carlo Scarpa, Ernö Goldfinger, Frank Lloyd Wright, Louis Kahn, Oscar Niemeyer, and Paul Rudolph. Contemporary architects featured include Peter Zumthor, Alvaro Siza, Coop Himmelb(l)au, David Chipperfield, Diller and Scofidio, Herzog & de Meuron, Jean Nouvel, SANAA, OMA, Renzo Piano, Tadao Ando, and Zaha Hadid.

Exhibition catalogue published in conjunction with installation at Der Kunstverein in Bremen, Germany, in 1998. Foreword by Wulf Herzogenrath. Additional texts by Andreas Kreul and Marina Dmitrieva-Einhorn. Includes list of literature referenced in the text. Text in German.

In una cultura segnata dal virtuale e dal rapido susseguirsi di nuovi media, che posto diamo alla superficie, espressione stessa di una sostanza fisica? Spazio di confine fra mondo interno ed esterno, soglia che separa il visivo dal tattile, la superficie è anche e soprattutto un luogo di relazioni materiali. Per scoprire la materialità delle immagini che popolano il contemporaneo e coglierne la portata, diventa allora indispensabile esplorare lo spazio di tali relazioni e il modo in cui vengono mediate attraverso stipi ilici che assumono di volta in volta le fattezze di una pelle, di un vestito, di uno schermo cinematografico o di una tela, fino ad arrivare ai monitor che dominano il nostro vivere quotidiano. Seguire il filo di questi incontri significa svelare la tessitura che compone il visuale e comprendere che l’immagine non è un mero elemento bidimensionale, ma qualcosa di poroso, un’epidermide che assorbe il tempo, un luogo in cui possono concretizzarsi forme di memoria e di trasformazione, un dispositivo che mette in contatto dimensioni spaziotemporali distanti. Ragionando a fondo sulle relazioni oggettuali tra arte, architettura, moda, design, cinema e nuovi media, Giuliana Bruno si interroga sul concetto di materialità e sulle sue molteplici manifestazioni. Superfici è un magistrale vagabondaggio nella cultura visuale contemporanea, una passeggiata che attraversa gli ambienti luminosi di artisti come Robert Irwin, James Turrell, Tacita Dean e Anthony McCall, tocca le superfici tattili degli schermi cinematografici di Isaac Julien, Sally Potter e Wong Kar-wai e viaggia attraverso la materialità delle pratiche architettoniche di Diller Scoficidio + Renfro e Herzog & de Meuron fino all’arte di Doris Salcedo e Rachel Whiteread, nelle quali la tensione di superficie dei media si tocca con mano. Una dissertazione che riesce a sfatare un mito, che la superficie sia un fatto superficiale.

Published by the Fine Arts Galery at UBC (now the Morris and Helen Belkin Art Gallery) on the occasion of the “Piles” exhibition, which opened February 6th, 1968. A red portfolio containing 59 offset printed photographs, a text by Kurt Von Meirer, a checklist and a map of Vancouver. Credited to NE Thing Co. (Ingrid and Iain Baxter), most of the photographs were taken by Iain Baxter, with a few by Fred Herzog. “Piles are not pretentious–they are just there being beautiful and doing their thing. Why piles? The structure is usually determined either by the object alone or the object plus the piler’s imagination or lack of it. Naive piles usually are the greatest. It’s the molecular structure and physical characteristics that give pile materials their nuances of stackability. The N.E. Thing Co. is interested in ACT or Aesthetically Claimed Things–a visual Good Housekeeping Seal of Approval. The Company has been ACTing for a number of years now and a publication will be coming soon regarding ACT.” Edition of 555

Quoted in: Lucy Lippard, Six years. The dematerialization of the art object from 1966 to 1972, 1973

Radical pedagogy from Bauhaus to Black Mountain: a defining document of ’60s counterculture
Maurice R. Stein and Larry Miller’s Blueprint for Counter Education is one of the defining (but neglected) works of radical pedagogy of the Vietnam War era. Originally published as a boxed set by Doubleday in 1970, the book was accompanied by large graphic posters that could serve as a portable learning environment for a new process-based model of education, and a bibliography and checklist that map patterns and relationships between radical thought and artistic practices―from the modernist avant-gardes to postmodernism, from the Bauhaus to Black Mountain College, from Theodor Adorno and Walter Benjamin to Buckminster Fuller and Norman O. Brown―with Herbert Marcuse and Marshall McLuhan serving as points of anchorage. Blueprint for Counter Education thus serves as a vital synthesis of the numerous intellectual currents in the countercultural debate on the radical reform of schools, universities and ways of learning. To accompany this new facsimile edition of the book and posters, an 80-page booklet features a conversation with the original Blueprint creators, Maurice R. Stein, Larry Miller and designer Marshall Henrichs, as well as essays from Jeffrey Schnapp, Paul Cronin and notes on the design by Adam Michaels of Project Projects.
Marshall Henrichs is a painter as well as a graphic designer; he studied with Richard Lindner, Walter Murch, George McNeil and Fredrico Castellon at the Pratt Institute. After graduation, he worked for several major New York publishers including Doubleday, where he served as art director. Among his editorial projects were various mainstream projects but also counterculture outliers such as Blueprint for Counter Education and Ira Einhorn’s 78–187880 (Doubleday, 1972).
Larry Miller, sociologist, was a member of the editorial collectives of the New American Movement newspaper and the journal Socialist Revolution/Socialist Review. He has written about major theorists and writers such as Marx, Gramsci, Althusser and Machiavelli.
Maurice R. Stein is an American sociologist and innovator in higher education. Stein is co-recipient of the 1987 Robert and Helen Lynd Lifetime Achievement Award bestowed by the American Sociological Association’s Community and Urban Sociology Section. Retired from Brandeis University since 2002, Stein resides in Cambridge, Massachusetts.
Paul Cronin is the editor of On Film-Making: An Introduction to the Craft of the Director (2004), a collection of writings by British director Alexander Mackendrick; Werner Herzog’s A Guide for the Perplexed (2014), an interview book with the German director; and Lessons with Kiarostami (2014), based on workshops conducted by Iranian director Abbas Kiarostami. His films include “Look out Haskell, it’s real!” The Making of Medium Cool (2001; re-edited 2013), Film as a Subversive Art: Amos Vogel and Cinema 16 (2003), In the Beginning was the Image: Conversations with Peter Whitehead (2006) and A Time to Stir (forthcoming, 2017), a 15-hour historical documentary about the student protests at Columbia University in 1968.
Adam Michaels is the cofounder of New York–based design studio Project Projects and the founder of Inventory Press. His work focuses on the active synthesis of typography and images―as well as editorial and design work―as a means of conveying significant content to diverse audiences. Project Projects works on books, exhibitions, identity systems and websites with clients such as the Canadian Centre for Architecture, MoMA, SALT Istanbul and Steven Holl Architects, and has been chosen twice as a finalist for the Cooper-Hewitt National Design Awards. The studio’s work has been widely published, and its principals have lectured and taught both nationally and internationally. The third and most recent title in the Inventory Books series is The Electric Information Age Book: McLuhan/Agel/Fiore and the Experimental Paperback, by Jeffrey T. Schnapp and Adam Michaels, which was further elaborated upon as a full-length vinyl LP entitled The Electric Information Age Album.
Before moving to Harvard in 2011, Jeffrey T. Schnapp occupied the Pierotti Chair of Italian at Stanford University, where he founded the Stanford Humanities Lab in 1999. A cultural historian, designer and curator, he is the author of over 20 books and hundreds of essays. His most recent books are The Electric Information Age Book (Princeton Architectural Press, 2012); Modernitalia (Peter Lang, 2012); and Digital_Humanities (MIT Press, 2012), coauthored with Anne Burdick, Johanna Drucker, Peter Lunenfeld and Todd Presner. The Library beyond the Book, coauthored with Matthew Battles, was published by Harvard University Press in 2014. Schnapp is professor of romance literatures at Harvard, where he also teaches in the Department of Architecture at the Graduate School of Design, in addition to directing metaLAB and codirecting the Berkman Center for Internet and Society.

Published on the occasion of The Drawing Center’s spring 2009 Selections exhibition, Apparently Invisible includes images of work by nine artists, including Susan Collis, Michaela Fruhwirth, Elana Herzog, Marietta Hoferer, Sarah Kabot, Anne Lindberg, Janine Magelssen, Chris Nau, and Janet Passehl. The artwork presented skirts the edge of perception and cognition, requiring a recalibration of the visual and a momentary investment in a more quiet sublime. This volume, number 84 in the Drawing Papers series, includes an essay by curators Nina Katchadourian, Joanna Kleinberg, and Rachel Liebowitz.

Eleven participants in the Dutch Werkplaats Typografie’s design program recently asked an equal number of more accomplished graphic designers to join forces with them in collaborations destined for France’s Chaumont Graphic Arts Festival. Dutch Resource reports on that collaboration. Each of the 11 different pairs showcases both designers’ working methods and the innovative, experimental aesthetic that unites them. The book as a whole offers a clear overview of the uncompromising practice of today’s graphic designer, a specialist and jack-of-all-trades who is not only master of his or her own work but often works as a writer, researcher, editor, curator, critic and photographer as well. Stuart Bailey – Sven Herzog Jop van Bennekom – Toshimasa Kimura Irma Boom – Darcy Jeffs Julia Born – Susanne Stetzer Experimental Jetset – Karen Willey Will Holder – Marie Proyart Felix Janssen T(C),H+M – Chantal Hendriksen LUST – Karen van de Kraats Mevis & Van Deursen – Louise Dossing Maureen Mooren en Daniël van der Velden – Jeffrey C. Ramsey Roma Publications – Layla Tweedie-Cullen

Record Again! is one outcome of the laudable “” conservation project, which has sought to combat the physical fragility and limited life span of outdated formats by tracing lost video works of the 1960s and 1970s. Scouring museum storage closets, archives and artists’ basements, the project succeeded in retrieving and restoring over 50 early video works by Joseph Beuys, Ricardi Peredo, Klaus vom Bruch, Egon Bunne, Valeska Gert, Freddy Paul Grunert, J rg Herold, Nam June Paik, Alexander Kluge, Gerd Kroske, Marcus Kaiser, Korpys/L ffler, Urs L thi, Anna Oppermann, Susanne Ofteringer, Klaus Rinke and many others, screening them for the first time in 30 years. Also supplying an illustrated history of video techniques and discussions on modern conservational practices, Record Again!includes texts by artists, curators and media scholars that consider one of the most influential genres in twentieth and twenty-first century art.

Milton Rogovin celebrates the non-celebrated, the ones who make the world go round. These words, spoken by prize-winning author Studs Terkel, are a fitting lens through which to view the work of Milton Rogovin, optometrist, political activist, and photographer. Milton Rogovin: The Making of a Social Documentary Photographer chronicles the story behind that life, and the man behind the acclaimed photographs that invite us to see for the first time, or to see anew, the tenacity, profound dignity, and resilience of people living in extremely difficult circumstances. Born in New York in 1909 to a Russian Jewish immigrant family, Rogovin was radicalized by the widespread deprivations he witnessed and experienced during the Depression, and he dedicated himself to working for social and economic justice. After military service in World War II, he began an optometry practice in Buffalo, and he and his wife became active politically, engaging in union organizing and voter registration in Buffalo’s African-American community. His activism led him to be called before the House Committee on Un-American Activities, and after refusing to testify, he was dubbed “Buffalo’s Number One Communist.” Much of his optometry clientele vanished, but, as he would realize, “there was also a positive result” to the attacks. His political voice silenced, he turned to photography as a way to speak about social inequities. In the years that have followed, Rogovin has devoted himself to chronicling the lives of people in New York, Appalachia, Scotland, Cuba, Zimbabwe, Mexico, France, Czechoslovakia, Spain, Germany, and China. Scholar Melanie Herzog locates Rogovin within a tradition of social documentary photography that began when nineteenth- and early-twentieth-century sociologists took up the camera, or, more often, enlisted the service of photographers to advocate for social reform through visual representations of the plight of the poor. But while Rogovin’s work is undoubtedly political, he does not romanticize his subjects or seek to portray them as victims or heroes; he seeks simply to convey the effects of material reality on people and their agency, to show how people live in relation to social conditions. This richly illustrated retrospective features Rogovin’s own narrative of his development and life as a documentary photographer, amplified by an account of the historical events and circumstances that shaped his politics and social consciousness. Milton Rogovin has dedicated his life’s work-as an optometrist, an activist, and a photographer-to enabling people to see more clearly. His photographs demand witness, and to witness is to see.

This book–accompanied by a DVD containing excerpts of all featured works and additional materials–tracks 40 years of German video art, from 1963 to the present. It offers a comprehensive overview of historical and current tendencies in video art, via 59 individual artworks. The included texts reflect on current strategies involving moving images and issues of presentation, conservation and restoration.

Die vorliegende Veröffentlichung erweitert diese theologische Fragestellung auf die zeitgenössische Kunst und deren Verarbeitung von Problemen der Gegenwart: Es werden Werke internationaler Künstler zusammengeführt, die sich in ihrer Arbeit mit existenziellen Aspekten des Lebens befassen. Zugleich wird nach den in der Kunst heute noch anwesenden Bildern der alt- und neutestamentarischen Überlieferung gesucht. Die ausgewählten Kunstwerke spüren das Religiöse im Säkularen und das Säkulare im Religiösen auf. In ihnen entwirft der Mensch Bilder von sich selbst in seiner körperlichen und geistigen Existenz. In miteinander verknüpften ikonografischen Linien führt die Publikation Entwürfe von Menschen, ihren Orten und Zeichen zusammen, die ihrerseits spirituelle Fragen stellen. In einführenden Essays werden die künstlerischen und die theologischen Aspekte des Themas erörtert. Hinzu kommen Texte zu den ausgestellten Werken sowie Selbstzeugnisse der beteiligten Künstler. Die Künstler: Dennis Adams, Pawel Althamer,Samuel Beckett, Joseph Beuys, Louise Bourgeois, Sophie Calle, Peter Campus, John Coplans, Hartwig Ebersbach, Jochen Gerz, Roni Horn, Thomas Huber, Martin Kippenberger, Harald Klingelhöller, Willem de Kooning, Maria Lassnig, Via Lewandowsky, Jonathan Meese, Boris Michailow,Juan Muñoz,Bruce Nauman, Gerhard Richter, Anri Sala, Thomas Schütte, Florian Slotawa, Kiki Smith,Robert Smithson, Thomas Struth, Hiroshi Sugimoto, Fiona Tan, Wolfgang Tillmans/Isa Genzken, Patrick Tosani, Mark Wallinger, Andy Warhol, Remy Zaugg

Architecture has always been a central subject matter for photographers. For most of the 20th century, however, the practice of architectural photography has been a professional endeavor; anonymous photographs taken for clients for specific, commercial reasons. This book concerns itself with another, rarer, topic: the photography of architecture as an art practice. It considers the work of seven contemporary photographers who use buildings in their work in a new way. In these photographs, they respond to the work of prominent architects by creating their own interpretations. Here are Andreas Gursky’s photos of the Stockhom Library by Gunnar Asplund, Tomas Ruff’s photos of several works by Herzog & de Meuron, Hiroshi Sugimoto’s photos of Le Corbusier’s Villa Savoye, as well as works by Candida Hofer, Jeff Wall, Gunther Forg, and Balthasar Burkhard. A beautiful and valuable book on one of the prominent movements in contemporary photography. Featuring: Andreas Gursky, Candida Hofer, Thomas Ruff, Jeff Wall, Gunther Forg, Hiroshi Sugimoto, Balthasar Burkhard Edited by Gloria Moure. Essays by Abalos & Enguita, Joerg Bader, Catherine Hurzeler, Hans Irrek, Gloria Moure, Barry Schwabsky, Jeff Wall and Martin Tschanz. Introduction by Terence Riley.

Inspired and provoked by the title character in Werner Herzog’s film Fitzcarraldo, two artists and a curator decide to revisit his mad plan of bringing opera to the tropics. In an attempt to undercut Fitzcarraldo’s colonial romanticism, they decide to confront a set of particular historical and sociopolitical realities by staging Halka, considered to be Poland’s “national opera,” in the seemingly unlikely locale of Cazale, Haiti, a village inhabited by the descendants of Polish soldiers who fought for the Haitian Revolution in the early 1800s. On February 7, 2015, a one-time-only performance of Halka was presented to a rapt local audience on a winding dirt road. A collaboration between Polish and Haitian performers, the event was filmed in one take to be presented later as a large-scale projected panorama in the Polish Pavilion at the Venice Biennale. This volume provides both a multifaceted conceptual framework for the project and a detailed record of this remarkable endeavor. With an introduction by the project’s curator and an interview with the artists, the book also features three newly commissioned essays—from literary scholar Katarzyna Czeczot, diplomat Géri Benoît, and anthropologist Kacper Pobłocki—alongside Michel-Rolph Trouillot’s seminal reflection on the global silencing of the Haitian Revolution. Also included are questionnaires completed by the project’s Haitian and Polish participants, translated selections from the opera’s libretto, extensive photographic documentation of the rehearsals, and stills from the film itself.

This first volume in the new Concept: Photography series–a loosely-knit collection of books, produced by Germany’s international DZ Bank in cooperation with leading European museums–kicks off an exploration of key themes in the contemporary photography discourse. Dialogues & Attitudes concentrates on subjects like Reflection in Media, Cinematography, and the Staging of the Self. With works by Matthew Barney, Christian Boltanski, Hanne Darboven, Tacita Dean, Robert Rauschenberg, Klaus Rinke, Cindy Sherman, Taryn Simon, William Wegman, and many others, as well as essays by Luminita Sabau, Wulf Herzogenrath, Hubert Beck, Veronika Baksa-Soos and Josef Tillmann, it presents a representative spectrum of the top current positions in photography and art. An appendix with biographies and bibliographies of the artists, as well as a complete checklist of the artworks, round out this first volume in an enlightening new series.

Under the harsh regime of an ambitious master, candidate Eon is training to become a Dragoneye – a powerful lord able to master wind and water to protect the land. But Eon also harbours a desperate secret – Eon is, in fact, Eona, a young woman who has endured years of disguise as a boy for the chance to practise the Dragoneye′s art. In a world where women are only hidden wives or servants, Eona′s dangerous deception is punishable by death. Still in disguise, Eona′s unprecedented talent thrusts her into the centre of a lethal struggle for the Imperial throne. Summoned by the Emperor to the opulent and teacherous court, Eona must learn to trust her power and find the strength to face a vicious enemy who would seize her magic and her life. Inspired by the rich myths and traditions of Ancient China, this is a fast-paced, exhilarating page-turner that shimmers with energy dragons, and dazzles with deadly intrigue and breathtaking swordplay.

More than any of their contemporaries, Swiss architects Jacques Herzog and Pierre de Meuron are challenging the boundaries between architecture and art. Natural History explores that challenge, examining how the work of this formidable pair has drawn upon the art of both past and present, and brought architecture into dialogue with the art of our time. Echoing an encyclopedia, this publication reflects the natural history museum structure of the exhibition which it accompanies, organized by the Canadian Centre for Architecture. Models and projects by Herzog & de Meuron, as well as by other artists, are structured around six thematic portfolios that suggest an evolutionary history of the architects’ work: Appropriation & Reconstruction, Transformation & Alienation, Stacking & Compression, Imprints & Moulds, Interlocking Spaces, and Beauty & Atmosphere. Each section is introduced with a statement from Herzog, and more than 20 artists, scholars, and architects have contributed essays, including Carrie Asman, Georges Didi-Huberman, Kurt W. Forster, Boris Groys, Ulrike Meyer Stump, Peggy Phelan, Thomas Ruff, Rebecca Schneider, Adolf Max Vogt, and Jeff Wall.

Rosemarie Trockel (b. Schwerte 1952; lives and works in Cologne) rose to international fame in the mid-1980s with her knitting pictures. A second group of works from the 1990s consists of numerous variations on wall works and sculptures into which the artist integrates conventional stovetops. These works gave rise to the entrenched notion that she is an artist who interrogates the images that define women’s social roles, dedicated to contributing to their deconstruction. Yet Rosemarie Trockel’s oeuvre extends far beyond this one aspect. In its diversity, it defies any attempt to characterize it according to conventional criteria. Rosemarie Trockel is a painter as well as a graphic artist, a sculptor as well as a conceptual artist. In 2011, she receives the Kaiserring of the City of Goslar, one of the world’s most renowned art awards. Includes essays by Friedemann Malsch, director, Kunstmuseum Liechtenstein, and Wulf Herzogenrath, director, Kunsthalle Bremen.

Band 1: malerei, plastik, performance.- Band 2: fotografie film video.- Band 3: handzeichnungen, utopisches design, bücher.- Artsts: Berenice Abbott, Hermann Albert, Carl Andre, Ben d’Armagnac, Christian Ludwig Attersee, Vito Acconci, Pierre Alechinsky, Theo Angelopoulos, Arman (Armand Fernandez), Bernhard Aubertin, Valerio Adami, Gerhard Altenbourg, Ottomar Anschütz, Fernando Arrabal, Joannis Avramidis, Robert Adamson, Robert Altman, Horst Antes, Eduardo Arroyo, Alice Aycock, Peter Ackermann, Anatol, Ant Farm, Art & Language, Billy Adler, Gisela Andersch, Shusaku Arakawa, David Askevold, Chantal Akerman, Laurie Anderson, Diane Arbus, Eugène Atget, Francis Bacon, Monika Baumgartl, Joseph Beuys, Fernando Botero, Kevin Brownlow & Andrew Mollo, Michael Badura, Hippolyte Bayard, Michael von Biel, Margaret Bourke-White, Günter Brus, Eduard Denis Baldús, Thomas Bayrle, Werner Bischof, Mathew B. Brady, Anatol Brosilowsky, Balthus, Cecil Beaton, Louis-Auguste Bisson & Auguste-Rosalie Bisson, Brassaï (Gyula Halász), Wojciech Bruszewski, Joachim Bandau, Bernd e Hilla Becher, Irma Blanck, George Brecht, Luis Buñuel, Jared Bark, Stephan Beck, Karl Blossfeldt, KP Brehmer, Chris Burden, Robert Barry, Bill Beckley, Bernhard Blume, George Hendrik Breitner, Daniel Buren, Jennifer Bartlett, John Ernest Joseph Bellocq, Mel Bochner, Heinz Breloh, Scott Burton, Gianfranco Baruchello, Carmelo Bene, Peter Bogdanovich, Robert Bresson, Michael Buthe, Giorgio Batistella, Franz Bernhard, Claus Böhmler, Stuart Brisley, James Lee Byars, Gerd Baukhage, Jean-Marie Bertholin, Blythe Bohnen, Jürgen Brodwolf, Horst H. Baumann, Nuccio Bertone, Karl Bohrmann, Marcel Broodthaers, Bodo Baumgarten, Jean-Louis Bertucelli, Christian Boltanski, Stanley Brouwn, Enzo Cacciola, Robert Capa, Barbara Chase-Riboud, Pinchas Cohen-Gan, Michael Craig-Martin, Julia Margaret Cameron, Henri Cartier-Bresson, Eduardo Chillida, James Collins, Fritz Cremer, Colin Campell, Étienne Carjat, Christo, Miguel Condé, José Luis Cuevas, Peter Campus, Ugo Carrega, Chryssa, Tony Conrad, Edward Curtis, Louis Cane, Lewis Carroll, Chuck Close, Steven Cortright, Veassis Caniaris, Claude Chabrol, Harold Cohen, Claudio Costa, Miodrag Djuric (Dado), Douglas Davis, Walter De Maria, Jim Dine, Juan Downey, Louis Daguerre, Ger Dekkers, Agnes Denes, Henry + Bool Alfred + John Dixon, Peter Downsborough, Hanne Darboven, Willem de Kooning, Fred Deux, Dore O., Michael Druks, Alan Davie, Philip Henry Delamotte, Jan Dibbets, Ugo Dossi, Marcel Duchamp, John Davies, Jack Delano, Braco Dimitrijevic, Christian Dotremont, David Douglas Duncan, Don Eddy, Paul Eliasberg, Heinz Emigholz, Ulrich Erben, Walker Evans, Benni Efrat, Ger van Elk, Ed Emshwiller, Hugo Erfurth, Valie Export, Sergej Eisenstein, Peter Henry Emerson, Leo Erb, Garth Evans, Öyvind Fahlström, Federico Fellini, Dan Flavin, Charles Frazier, Lee Friedlander, Herbert Falken, Roger Fenton, Richard Fleischer, Hermine Freed, Hamish Fulton, Ralston Farina, Armand Fernandez, Lucio Fontana, Will Frenken, Heidi Fasnacht, Vincenzo Ferrari, Fred Forest, Achim Freyer, Rainer Werner Fassbinder, Robert Filliou, Terry Fox, Gisèle Freund, Hans-Peter Feldmann, Wolfgang Gäfgen, Jochen Gerz, Tina Girouard, Dan Graham, Nancy Graves, Abel Gance, Paul-Armand Gette, Michael Gitlin, Eve Gramatzki, Alan Green, Alexander Gardner, Peter Gidal, Wilhelm von Gloeden, Tom J. Gramse, Marty Greenbaum, Winfred Gaul, Wolfram Giersbach, Jean-Luc Godard, Gotthard Graubner, Alberto Grifi, Rupprecht Geiger, Gilbert & George, Hubertus Gojowczyk, Nancy Graves, Robert Grosvenor, Michael Geissler, Frank Gilette, Kuno Gonschior, Walter Grasskamp, Hetum Gruber, Arnold Genthe, Raimund Girke, Camille Graeser, Gotthard Graubner, Renato Guttuso, Roel D’Haese, Haus-Rucker-Co, Wilhelm Hein, Lewis Hine, Nan Hoover, Helfried Hagenberg, Erich Hauser, Bernhard Heisig, Leon Hirszman, Rebecca Horn, David Hall, Lady Hawarden, Michael Heizer, Antonius Höckelmann, Horst P. Horst, Nigel Hall, Ron Hays, Al Held, David Hockney, George Hoyningen-Huene, Phillipe Halsman, Tim Head, Werner Herzog, Anatol Herzfeld, Alfred Hofkunst, Richard Hamilton, Erwin Heerich, Eva Hesse, Rudolf Hoflehner, Douglas Huebler, Heijo Hangen, Axel Heibel, David Octavius Hill, Edgar Hofschen, Danièle Huillet, Noriyuki Haraguchi, Birgit Hein, John Hilliard, Hans Hollein, Alfonso Hüppi, Karl Horst Hödicke, Shohei Imamura, Will Insley, Jean Ipoustéguy, Patrick Ireland, Hans Paul Isenrath, Ken Jacobs, Paul Jaray, Jasper Johns, Francis Benjamin Johnston, Miklós Jancsó, Jo Jastram, J. Douglas Johnson, Donald Judd, Horst Janssen, Alejandro Jodorowsky, Joan Jonas, Martha Jungwirth, Wolf Kahlen, Buster Keaton, Jürgen Klauke, Beril Korot, Ferdinand Kriwet, Max Kaminski, Ellsworth Kelly, Alexander Kluge, Joseph Kosuth, Germaine Krull, Howard Kanovitz, Michael Kenny, Werner Knaupp, Jannis Kounellis, Shigeko Kubota, Tadeusz Kantor, André Kertész, Günther Knipp, Andras Kovács, Stanley Kubrick, Allan Kaprow, Anselm Kiefer, Milan Knížák, Attila Kovács, Gary Kuehn, Dani Karavan, Harry Kipper, Imi Knoebel, Kurt Kren, Marin Karmitz, Alain Kirili, Alice Kochs, Dieter Krieg, Gertrude Kasebier, Ronald B. Kitaj, Christof Kohlhöfer, Richard Kriesche, On Kawara, Konrad Klapheck, Jiří Kolář, Les Krims, Willem de Kooning, László Lakner, Barry Le Va, Michael Leisgen, Lawrence Lobe, Urs Lüthi, Arthur Lamothe, Russell Lee, Les Levine, Francisco Lopez, Georg Platt Lynes, Richard Landry, Jean Le Gac, Sol LeWitt, Antonio Lopez-Garcia, Nikolaus Lang, Gustave Le Gray, Roy Lichtenstein, Joseph Losey, Dorothea Lange, Malcolm Le Grice, Richard Lindner, Bernhard Luginbühl, John Latham, Barbara Leisgen, Michael Lingner, Bernhard Lüthi, Heinz Mack, Kenneth Martin, Gerhard Merz, Alexander Mitta, Robert Morris, Nino Malfatti, Charles Marville, Mario Merz, Milan Mölzer, Alfons Maria Mucha, Felix H. Man (Hans Baumann), Roberto Matta, Borg Mesch, Bernard Moninot, Ugo Mulas, Robert Mangold, Gordon Matta-Clark, Anette Messager, Henry Moore, Antoni Muntadas, Andy Mann, Wolfgang Mattheuer, Adolphe de Meyer, Stefan Moore, Walter Murch, Werner Mantz, Cynthia Lee Maughan, Duane Michals, Carmengloria Morales, J.-J. Murphy, Piero Manzoni, Antony McCall, Henri Michaux, Marcello Morandini, Zoran Mušič, Giacomo Manzù, Barry McCallion, Rune Mields, Pit Morell, Eadweard Muybridge, Robert Mapplethorpe, Bruce McLean, Antoni Miralda, François Morellet, Brice Marden, Syd Mead, Josef Mikl, Maria Moreno, Agnes Martin, Dariush Mehrjui, Joan Miró, Malcolm Morley, Tomitaro Nachi, Bruce Nauman, Wolfgang Nestler, Joseph Nicéphore Niépce, Maria Nordman, Félix Nadar, Charles Nègre, Richard Newton, Ansgar Nierhoff, Gabriele & Helmut Nothhelfer, Maurizio Nannucci, Werner Nekes, Max Neuhaus, Richard Nonas, Lev V. Nussberg, Dore O., Timothy O’Sullivan, Roman Opalka, Nagisa Oshima, Oswald Oberhuber, Claes Oldenburg, Dennis Oppenheim, Jean Otth, Brian O’Doherty, Claudio Olivieri, Anna Oppermann, Hilmar Pabel, Giulio Paolini, A. R. Penck, Pablo Picasso, Lucio Pozzi, Nam June Paik, Eduardo Paolozzi, Peng-Wan-Ts, Otto Piene, Heinz-Günter Prager, Blinky Palermo, Gordon Parks, Beverly Pepper, Walter Pichler, Mario Prassinos, Magnus Palsson, Sergei Paradschanow, Elio Petri, Anne & Patrick Poirier, Panamarenko, Pier Paolo Pasolini, Wolfgang Petrick, Sigmar Polke, Gina Pane, Max Peintner, Friederike Pezold, Don Potts, Isabel Quintanilla, Daniel Quintero, William Raban, John Reilly, Jacob August Riis, Peter Roehr, Ed Ruscha, David Rabinowitch, James Reineking, Bridget Riley, Ulrike Rosenbach, Ken Russell, Arnulf Rainer, Albert Renger-Patzsch, Klaus Rinke, James Rosenquist, Claude Rutault, Yvonne Rainer, Jean Renoir, Larry Rivers, Francesco Rosi, Reiner Ruthenbeck, Robert Rauschenberg, Alain Resnais, Jacques Rivette, Roberto Rossellini, Robert Ryman, Man Ray, Erich Reusch, Józef Robakowski, Dieter Roth, Éric Rohmer, Tony Ray-Jones, Hans Peter Reuter, Dorothea Rockburne, Arthur Rothstein, Martial Raysse, George Warren Rickey, Alexander Rodtschenko, Gerhard Rühm, Reindeer Werk, Hans Salentin, Tomas Schmit, Eugen Schönebeck, Michael Singer, Edward Steichen, Sohrab Shadid Saless, Wolfgang Schmitz, Martin Schwarz (Künstler), Willi Sitte, Saul Steinberg, Erich Salomon, Helmut Schober, Martin Scorsese, Neal Slavin, Frank Stella, Lucas Samaras, Eugen Schönebeck, George Segal, David Smith, Alfred Stieglitz, Fred Sandback, Ben Schonzeit, Antonio Seguí, Robert Smithson, Sir Benjamin Stone, August Sander, Rudolf Schoofs, Friedrich Seidenstücker, Fernando Ezequiel Solanas, Paul Strand, Sarkis Zabunyan, Jan Schoonhoven, Richard Serra, Michael Snow, Jean-Marie Straub, Antonio Saura, Werner Schroeter, Ben Shahn, Alan Sonfist, Liselotte Strelow, Konrad Balder Schäuffelen, Heinz Schubert, Joel Shapiro, Eve Sonneman, Michell Stuart, Georgij Schengalaja, Alf Schuler, Charles Sheeler, Keith Sonnier, Josef Sudek, Alexander Schleber, HA Schult, Stephen Shore, Daniel Spoerri, István Szábo, Barbara Schmidt-Heins, Bernard Schultze, Katharina Sieverding, Klaus Staeck, Gabriele Schmidt-Heins, Emil Schumacher, Charles Simonds, Ted Stamm, Jiro Takamatsu, Andrej Tarkowskij, George Trakas, Peter Tuma, Vassilakis Takis, André Thomkins, François Truffaut, Deborah Turbeville, William Henry Fox Talbot, Jean Tinguely, Costas Tsoclis, Richard Tuttle, Antoni Tàpies, Gérard Titus-Carmel, Werner Tübke, Cy Twombly,Günther Uecker, Lee U Fan, Timm Ulrichs, Ursula Schultze-Bluhm, Giuliano Vangi, Wladimir Veličkovič, Bill Viola, Klaus Vogelsang, Hannsjörg Voth, Agnès Varda, Bernard Venet, Luchino Visconti, Wolf Vostell, Andrzej Wajda, Weegee, Orson Welles, Gottfried Wiegand, Claus Peter Wittig, Willie Walker, William Wegman, Wim Wenders, Klaus Wildenhahn, Krzysztof Wodiczko, Franz Erhard Walther, Peter Weibel, Lina Wertmüller, Dorothee von Windheim, Erwin Wortelkamp, Andy Warhol, Lawrence Weiner, Dsiga Wertow, Gerd Winner, Fritz Wotruba, Ryszard Wasko, Roger Welch, Marthe Wéry, Reindert Wepko van de Wint, Klaus Wyborny, Wolfgang Weber, Peter Weller, Tom Wesselmann, Rainer Wittenborn, Keigo Yamamoto, Yves Yerson, Yoshio Yoshida, Frank Young, Herbert Zangs, Gianfranco Zappettini, Jerry Zeniuk, Heinrich Zille, Krzysztof Zanussi, Michele Zaza, Christian Ziewer, Zush