An artist’s book consisting of photographs of the intersections along Los Angeles’ famous Sunset Strip, in direct reference to Ed Ruscha’s classic book Every Building on the Sunset Strip.

Meeting #13 is one in a series of text works by Jonathan Monk. In this series, the artist attempts to organise meetings somewhere in the world. We are given the details of a meeting − the place, date and time, nothing more. This basic principle and structure always remains the same throughout the series. The invitation to meet is potentially open to an audience of 10,000 (the edition), more like a rally or demo than a brief encounter. What will happen? Who will be there? Meeting #13 fits into the wider context of Jonathan Monk’s work; within the gallery space he paints directly onto the wall and the idea is to meet the buyer of the work. The reception of the work will change at the very moment of the meeting (anticipation giving way to memory and nostalgia).

‘For me, it’s like buying gifts for myself and some are really fantastic: occasionally I am really amazed by what I have bought when it arrives, as often the catalogue description does not do justice to the physical object itself.’ ⎯ Jonathan Monk Jonathan Monk is an artist who loves other artists. His work draws on oblique autobiographical references and personal anecdotes together with art historical strategies and legacies to express a critical camaraderie in his subject. Cover Version features a selection of seminal publications from Monk’s extensive collection of artists’ books. Sol Le Witt, Lawrence Weiner and Ed Ruscha are represented side by side to form a cogent series, which presents a contemporary investigation into materiality and the problems of signification in conceptual art publishing. An integral section of Cover Version is a transcribed telephone conversation between Jonathan Monk and Seth Siegelaub, which unfolds and discusses their mutual obsession with book making and collecting whilst speculating on the nature of the object. This ‘collectable’ book also has three different covers designed with its monetary value in euros, dollars and pounds, a direct reference to Lawrence Weiner’s 1968 publication Statements.

Exhibition catalogue published in conjunction with Art Metropole’s 10th Anniversary exhibition held November 17 – December 8, 1984. Designed by AA Bronson. Text by AA Bronson, John Goodwin, Christina Ritchie, and Peggy Gale. Includes an exhibition checklist and an Art Metropole chronology from 1974 – 1984. Indexes works by: Vito Acconci, Vincenzo Agnetti, Shelagh Alexander, Laurie Anderson, Carl Andre, Ant Farm, Eleanor Antin, Ida Applebroog, Shusaka Arakawa, Ryan Arnott, Robert Ashley, David Askevold, Alice Aycock, John Baldessari, Robert Barry, Carole Gallagher, Luciano Bartolini, Lothar Baumgarten, Joseph Beuys, Caroline Tisdall, Dara Birnbaum, Mel Bochner, Alighiero Boetti, Christian Boltanski, Pierre Boogaerts, Jonathan Borofsky, Brad Brace, George Brecht, Hans Breder, Marcel Broodthaers, Stanley Brouwn, David Buchan, Hank Bull, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Richard C., Miriam Cahn, John Cage, Ulises Carrion, James Casebere, Sarah Charlesworth, Sandro Chia, Giuseppe Chiari, Robert Christo, Collective Chromazone, Heinz Cibulka, Francesco Clemente, James Collins, Claudio Costa, Robert Cumming, Greg Curnoe, Hanne Darboven, Lowel D. Darling, Juan Da Villa, Constance De Jong, Tom Dean, Mario Diacono, Antonio Dias, Jan Dibbets, Martin Disler, Jean Dubuffet, Marcel Duchamp, Mary Beth Edelson, Kit Edwards, Felipe Ehrenberg, Valie Export, Hans-Peter Feldmann, Robert Filliou, A.M. Fine, Hervé Fischer, Joel Fisher, Copp Fletcher, Robert Fones, Ken Friedman, Hamish Fulton, Phillip Galgiani, Eldon Garnet, Gilbert and George, Jochen Gerz, Michael Gibbs, Jon Gibson, Oliver Girling, Randy Gledhill, Tom Graff, Dan Graham, John Greer, Walther Gutman, Hans Haacke, Dieter Hacker, Noel Harding, Keith Haring, Stephen Harris, Matt Harley, Michael Heizer, Gerard Hemsworth, Jan Herman, Geoff Hendricks, Dick Higgins, Susan Hiller, Hans Hollein, Jenny Holzer, Rebecca Horn, Douglas Huebler, Sonja Ivekovic, Jasper Johns, Ray Johnson, Joe Jones, On Kawara, Anselm Kiefer, Kijkhuis, Yves Klein, John Knight, Richard Kostelanetz, Joseph Kosuth, Jannis Kounellis, Les Krims, David Lamelas, Bernard Lassus, Vera Lemecha, Les Levine, Sol LeWitt, Tina Lhotsky, Roy Lichtenstein, Colin Lochhead, Richard Long, Robert Longo, Nino Longobardi, Urs Luthi, George Maciunas, Allan Mackay, David MacWilliam, Paul Maenz, Arnaud Maggs, Liz Magor, John Massey, Hansjorg Mayer, Bruce McLean, Sandra Meigs, Mario Merz, Eric Metcalfe, Phillip Monk, Michael Morris, Muntadas, Ian Murray, Norman Ogue Mustill, Maurizio Nannucci, Opal L. Nations, Bruce Nauman, Linda Neaman, Al Neil, Hermann Nitsch, Barbara Noah, Arlene Golant, Claes Oldenburg, Luigi Ontani, Dennis Oppenheim, Nam June Paik, Giulio Paolini, Andy Patton, Steve Paxton, A.R. Penck, Giuseppe Penone, Bern Porter, Royden Rabinowitch, Marcus Rätz, Steve Reich, Lothar Reiners, James Riddle, David Rosenberg, Martha Rosler, Dieter Rot, Ed Ruscha, Lawerence Weiner, Reiner Ruthenbeck, Jim de Sana, Lucas Samaras, Bernd Schmitz, Carolee Schneemann, Rudolf Schwarzkogler, Kurt Schwitters, Tom Sherman, Chieko Shiomi, Seth Siegelaub, Jack Wendler, Michael Snow, Valerie Solanas, Daniel Spoerri, Klaus Staeck, Ernesto Tatafiore, Paul Thek, Edwin Klein, Vincent Trasov, John Mitchell, Richard Tuttle, Cy Twombly, Ulay, Roland Van Den Berghe, M. Vaughan-James, Ben Vautier, Bernar Venet, Claudio Verna, Wolf Vostell, Martin Walde, Jeff Wall, Duane Lunden, Ian Wallace, Andy Warhol, Robert Watts, George Whiteside, Robert Wiens, Stephan Willats, Emmett Williams, Martha Wilson, Robert Wilson, Ludwig Wittgenstein, Krzysztof Wodiczko, Va Wölfl, Peter Wronski, Donna Wyszomierski, Keigo Yammamoto, La Monte Young, and R. Zybert.

Manifestos by artists, authors, editors, publishers, designers, zinesters explore publishing as artistic practice.

Independent publishing, art publishing, publishing as artistic practice, publishing counterculture, and the zine, DIY, and POD scenes have proliferated over the last two decades. So too have art book fairs, an increasingly important venue―or even medium―for art. Art publishing experienced a similar boom in the 1960s and 1970s, in response to the culture’s “linguistic turn.” Today, art publishing confronts the internet and the avalanche of language and images that it enables. The printed book offers artists both visibility and tangibility. Publishing Manifestos gathers texts by artists, authors, editors, publishers, designers, zinesters, and activists to explore this rapidly expanding terrain for art practice.

The book begins in the last century, with texts by Gertrude Stein, El Lissitsky, Oswald de Andrade, and Jorge-Luis Borges. But the bulk of the contributions are from the twenty-first century, with an emphasis on diversity, including contributions from Tauba Auerbach, Mariana Castillo Deball, Ntone Edjabe, Girls Like Us, Karl Holmqvist, Temporary Services, and zubaan. Some contributors take on new forms of production and distribution; others examine the political potential of publishing and the power of collectivity inherent in bookmaking. They explore among other topics, artists’ books, appropriation, conceptual writing, non-Western communities, queer identities, and post-digital publishing. Many texts are reproduced in facsimile―including a handwritten “speculative, future-forward newspaper” from South Africa. Some are proclamatory mission statements, others are polemical self-positioning; some are playful, others explicitly push the boundaries. All help lay the conceptual foundations of a growing field of practice and theory.

Contributors
AND Publishing, Oswald de Andrade, Archive Books, Art-Rite, Rasheed Araeen, Tauba Auerbach, Michael Baers, Bibi Bakare-Yusuf, Ricardo Basbaum, Derek Beaulieu, Bernadette Corporation, Riccardo Boglione, Bombay Underground, Jorge Luis Borges, bpNichol, Kate Briggs, Broken Dimanche Press, Eleanor Vonne Brown, Urvashi Butalia, Ulises Carrión, Mariana Castillo Deball, Paul Chan, Chimurenga, Arpita Das, Anita Di Bianco, Guy Debord, Constant Dullaart, Craig Dworkin, Ntone Edjabe, Zenon Fajfer, Marina Fokidis, General Idea, Annette Gilbert, Girls Like Us, Gloria Glitzer, Marianne Groulez, Alex Hamburger, Karl Holmqvist, Lisa Holzer, Mahmood Jamal, Tom Jennings, Ray Johnson, David Jourdan, Sharon Kivland, Kione Kochi, Kwani?, Bruce LaBruce, Tan Lin, El Lissitzky, Alessandro Ludovico, Sara MacKillop, Steve McCaffery, Jonathan Monk, Simon Morris, Mosireen, León Munoz Santini, Takashi Murakami, Deke Nihilson, Aurélie Noury, Johnny Noxzema, Clive Phillpot, Michalis Pichler, Seth Price, Riot Grrrl, Carlos Soto Román, Allen Ruppersberg, Joachim Schmid, Oliver Sieber, Paul Soulellis, Matthew Stadler, Gertrude Stein, Paul Stephens, Hito Steyerl, Mladen Stilinovic, Katja Stuke, Temporary Services, Nick Thurston, TIQQUN, Elisabeth Tonnard, V. Vale, Eric Watier, Erik van der Weijde, Lawrence Weiner, Eva Weinmayr, Jan Wenzel, Stephen Willats, Gil J Wolman, zubaan

Copublished with Miss Read: The Berlin Art Book Fair

British artist Jonathan Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, ‘Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realised that being original was almost impossible, so I tried using what was already available as source material for my own work. ’ A few years ago Monk moved to Rome for a while with his family. In Rome he adopted a pleasant gastronomic routine: restaurants and pizzerias, alone or with friends, but most of all with his family. Once back home, between the name of the restaurant and the total of the bill, on top of all the various dishes consumed, the artist used a pencil, sometimes with watercolours, to reproduce the image of a work by another artist on the receipt or scrubby hand-written note. Clearly, the appropriationist approach which had characterised most of his work thus far also continued through this new life experience. This book collects One Hundred Meals between Rome and Berlin.

Having spent many years in the shadows of the artistic mainstream, Bas Jan Ader (born 1942, missing since 1975) was rediscovered in the 1990s by a young generation of artists, who’s work he has inspired. In the meantime, not only insiders from the art scene are to be found amongst his admirers. A host of solo and thematic exhibitions as well as publications have led to his now being at the heart of an artistic cult that is second to none. This volume thoroughly analyses, from an art historical perspective, the mystification of the artist, his contradictory oeuvre and its significance today, in order to question the romantic legend of the eccentric artist for whom art and life merge into an art of failure. Contemporary artistic viewpoints by Jonathan Monk, Elke Krystufek and Yang Haegue complement these observations – not without critical examination of the art world’s common tendency to merely recycle names, designs and styles

In september 2009, Christophe Daviet-Thery invited the swiss collector Christoph Schifferli to curate an exhibition at his gallery. The show was called “Books on Books” and presented 26 artists’ books that are, in some way or another, about books or their representation. The same year, in december 2009, Christophe Daviet-Thery asked to Jérôme Saint-Loubert Bié to take care of the catalog even if this book works independently from the exhibition. He invited Jonathan Monk and Yann Sérandour to have a conversation about 12 books (Bruce Nauman, Burning Sall Fires, 1968; Richard Prince, American English, London: Sadie Coles HQ and Cologne: Verlag der Buchhandlung Walther König, 2003; Wade Guyton, Zeichnungen für ein großes Bild, Cologne: Verlag der Buchhandlung Walther König, 2010; Jonathan Monk, Cover Version, London: Book Works, 2004; Mike Kelley, Reconstructed History, New York: Thea Westreich and Cologne: Gisela Capitain, 1990; Allen Ruppersberg, The New Five-Foot Shelf of Books, Brussels: Éditions Micheline Szwajcer & Michèle Didier and Ljubljana: International Centre of Graphic Arts, 2003; Claude Closky, Vacances à Arcachon, Paris: Éditions Galerie Jennifer Flay, 2000; Alejandro Cesarco, Dedications, New York: A.R.T. Press, 2003; Martin Kippenberger, The Happy End of Franz Kafka’s Amerika. Tisch Nr. 3, Sankt Georgen: Sammlung Grässlin, 1993; Matt Mullican, Matt Mullican, Valencia: IVAM Instituto Valenciano de Arte Moderno, 1995; Batia Suter, Parallel Encyclopedia, Amsterdam: Roma Publications, 2009; Yann Sérandour, Inside the White Cube: Overprinted Edition, Zurich: JRP|Ringier, 2009). Jérôme Saint-Loubert Bié is an artist and book designer based in Paris. His work often combines photography with a site-specific approach and it is informed by his concurrent practice as a graphic designer. The central themes of his work focus on the reproduction of art works and the context of exhibition as essential conditions to the presentation and knowledge of art. As a graphic designer, he specializes in exhibition catalogues and books by artists. He has worked with the following institutions and publishing houses, among others: Book Works, Centre Pompidou, Christophe Daviet-Théry, La Fabrique éditions, JRP|Ringier, Musées de la Ville de Strasbourg, Musée d’Art Moderne de la Ville de Paris, Le Point du Jour, Revolver, Verlag der Buchhandlung Walther König. He is also one of the founding editors of the independent journal Irrégulomadaire. He has taught at Université de Paris-8 (fine arts and photography departments), Université de Paris-X (curatorial program Arts de l’Exposition), École Nationale Supérieure d’Art de Nancy (art department), and for 9 years at École des Beaux-Arts de Rennes, where he co-funded the master program in graphic design. He is currently a professor of graphic and publication design at École Supérieure des Arts Décoratifs de Strasbourg.

It would make a beautiful ruin, said Eero Saarinen of his now obsolete airport terminal. Terminal 5 was a group show curated by Rachel K. Ward at Saarinen’s landmark 1962 TWA Terminal at JFK Airport. Originally scheduled to run from 1 October 2004 – 31 January 2005, the Port Authority closed the exhibition after the “controversial” opening night. Initiated as a form of “dedication to the building” the exhibition explored themes of the history and nature of travel, and responded to the significance of the architecture itself. The catalogue served as the secondary site for participating artists, writers and critics. Designed by David Reinfurt, it is divided into three sections: architectural history, exhibition information, and air travel related essays, and includes extensive visual material related to the site and the exhibition. Contributions by Paul Andreu, J.G. Ballard, Glenn O’Brien, Nicolas Bourriaud, Douglas Coupland, Ben Davis, Dave Eggers, Norman Foster, Dan Graham, Ana Honingman, J.T. LeRoy, Hesse McGraw, Jonas Mekas, David Pascoe, Nina Rappaport, Susan Saarinen, Brian Sholis, Robert Smithson, Marc-Olivier Wahler, and Rachel K. Ward. The exhibition included works by Vanessa Beecroft, Douglas Coupland, Kendell Geers, Dan Graham, Toland Grinnell, Fabrice Gygi, Mark Handforth, Jenny Holzer, Ryoji Ikeda, Just Another Rich Kid, Matthieu Laurette, Jonas Mekas, Aleksandra Mir, Jonathan Monk, Tom Sachs, Anri Sala and Tobias Wong. 

Situation–a unique set of conditions produced in both space and time and ranging across material, social, political, and economic relations–has become a key concept in twenty-first-century art. Rooted in artistic practices of the 1960s and 1970s, the idea of situation has evolved and transcended these in the current context of globalization. This anthology offers key writings on areas of art practice and theory related to situation, including notions of the site specific, the artist as ethnographer or fieldworker, the relation between action and public space, the meaning of place and locality, and the crucial role of the curator in recent situation specific art. In North America and Europe, the site-specific is often viewed in terms of resistance to art’s commoditization, while elsewhere situation-specific practices have defied institutions of authority. The contributors discuss these recent tendencies in the context of proliferating international biennial exhibitions, curatorial place-bound projects, and strategies by which artists increasingly unsettle the definition and legitimation of situation-based art.Artists surveyed include [from Ian 1/30]Vito Acconci, Allora & Calzadilla, Francis Alÿs, Carl Andre, Artist Placement Group, Michael Asher, Amy Balkin, Ursula Biemann, Bik Van der Pol, Daniel Buren, Victor Burgin, Janet Cardiff, Center for Land Use Interpretation, Adam Chodzko, Collective Actions, Tacita Dean, Elmgreen & Dragset, Andrea Fraser, Hamish Fulton, Dan Graham, Liam Gillick, Renée Green, Group Material, Douglas Huebler, Bethan Huws, Pierre Huyghe, Robert Irwin, Emily Jacir, Ilya Kabakov, Leopold Kessler, Július Koller, Langlands & Bell, Ligna, Richard Long, Gordon Matta-Clark, Graeme Miller, Jonathan Monk, Robert Morris, Gabriel Orozco, Walid Ra’ad, Raqs Media Collective, Paul Rooney, Martha Rosler, Allen Ruppersberg, Richard Serra, Situationist International, Tony Smith, Robert Smithson, Vivan Sundaram, Rirkrit Tiravanija, Lawrence Weiner, Rachel Whiteread, Krzysztof Wodiczko, Qiu Zhijie Writers include Arjun Appaduri, Marc Augé, Wim Beeren, Josephine Berry Slater, Daniel Birnbaum, Ava Bromberg, Susan Buck-Morss, Michel de Certeau, Douglas Crimp, Gilles Deleuze, T. J. Demos, Rosalyn Deutsche, Thierry de Duve, Charles Esche, Graeme Evans, Patricia Falguières, Marina Fokidis, Hal Foster, Hou Hanrou, Brian Holmes, Mary Jane Jacob, Vasif Kortun, Miwon Kwon, Lu Jie, Doreen Massey, James Meyer, Ivo Mesquita, Brian O’Doherty, Craig Owens, Irit Rogoff, Peter Weibel

Certificates of authenticity are a critical aspect of art works today. They often embody the artwork itself, while referring to it, serving as its deed, legal statement, and fiscal invoice. Certificates by artists validate the authorship and originality of the work and they allow the work of art to be positioned in the marketplace as a branded product. Providing examples of artists certificates from the past fifty years, this book reveals how roles have shifted and developed, as well as how the materials and content of art have changed. With certificates by: Ruben Aubrecht, Judith Barry, Robert Barry/Stefan Brüggemann, Hemali Bhuta and Shreyas Karle, Pierre Bismuth, George Brecht, Marinus Boezem, Daniel Buren, Andre Caderé, Marcel Duchamp, Maria Eichhorn, Urs Fischer, Dan Flavin, Andrea Fraser, Liam Gillick, The Felix Gonzalez-Torres Foundation, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Ken Lum, Piero Manzoni, Gordon Matta-Clark, Josiah McElheny and Allan Kaprow, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Cesare Pietroiusti, Adrian Piper, Emilio Prini, Robert Projansky and Seth Siegelaub, Raqs Media Collective, Robert Rauschenberg, Sharmila Samant, Joe Scanlan, David Shrigley, Daniel Spoerri, Haim Steinbach, Superflex, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West, Cerith Wyn Evans, Carey Young, Andrea Zittel, Heimo Zobernig.

Cet ouvrage réunit la plupart des écrits d’Anne Moeglin-Delcroix sur le livre d’artiste dispersés dans des revues, catalogues d’exposition et ouvrages collectifs, en France ou à l’étranger, ainsi que quelques textes inédits. Ils représentent vingt-cinq ans de réflexion sur ce domaine nouveau des arts visuels dont la genèse au cours des années soixante et le développement jusqu’à nos jours sont inséparables des enjeux artistiques contemporains. L’accent est mis sur le rôle décisif des pionniers dans la définition de l’esprit et des lois du genre, notamment Edward Ruscha, Lawrence Weiner, Sol LeWitt aux États-Unis, Dieter Roth, Marcel Broodthaers, Ian Hamilton Finlay, Herman de Vries, Robert Filliou et Christian Boltanski en Europe. Ceux-ci inaugurent une tradition que les artistes plus jeunes, de Claude Closky à Jonathan Monk, poursuivent et interrogent, chacun à sa manière. Cette anthologie comporte trois parties : un ensemble d’analyses générales, suivant l’ordre chronologique de leur écriture qui est aussi celui de l’élaboration d’une pensée, historique et esthétique, sur un objet presque vierge à l’époque ; des études monographiques reflétant la diversité des approches du livre par les artistes contemporains ; des textes brefs, interventions et mises au point sur la nature et la signification du livre d’artiste, exprimant l’engagement de l’auteur au sein de la communauté scientifique internationale et parmi les artistes eux-mêmes.

1,2,3… Avant-Gardes is dedicated to the ongoing history of the experiment in film and art. This book describes and analyses the works of filmmakers and artists, defining two decades of experiments in Polish avant-garde film, and juxtaposes their work with contributions by international artists, who started to work during the last fifteen years. The outstanding history of Polish experimental film, represented by the work of Bogdan Dziworski, Paweł Kwiek, Natalia LL, Józef Robakowski, Stefan and Franciszka Themerson, and many others, is presented in an archive containing descriptions of more than 30 films of the Polish avant-garde between 1920–1970 and organized around six themes: Analytical Strategies, Political Film (Soc Art), Sound and Image, Imagination, Games and Participation, and Consumption. Artist pages by Paweł Althamer and Artur Żmijewski, Bernadette Corporation, Matthew Buckingham, Judith Hopf and Katrin Pesch, Igor Krenz, Jonathan Monk, Jeroen de Rijke and Willem de Rooij, and Wilhelm Sasnal complete this compendium as a contribution toward an extended examination of the history and practice of experimental filmmaking and art. Artists: Akademia Ruchu, Antosz & Andzia, Paweł Althamer/Artur Żmijewski, Piotr Andrejew, Bernadette Corporation, Kazimierz Bendkowski, Matthew Buckingham, Bogdan Dziworski, Marcin Giżycki, Janusz Haka, Oskar Hansen, Judith Hopf / Katrin Pesch, Tadeusz Junak, Jacques de Koning, Igor Krenz, Grzegorz Królikiewicz, Zofia Kulik, Paweł Kwiek, Przemysław Kwiek, Natalia LL, Jolanta Marcolla , Jonathan Monk, Ewa Partum, Andrzej Pawłowski, Zygmunt Piotrowski, Jeroen deRijke/Willem de Rooij, Józef Robakowski, Zbigniew Rybczyński, Zygmunt Rytka, Wilhelm Sasnal, Jadwiga Singer, Zdzisław Sosnowski, Mieczysław Szczuka, Michał Tarkowski, Stefan & Franciszka Themerson, Teresa Tyszkiewicz, Ryszard Waśko, Jan S. Wojciechowski, Krzysztof Zarębski, Florian Zeyfang

This comprehensive overview of current contemporary German art surveys the latest developments in a country not only reunified, east and west, but one with Europe. In recent years, more and more foreign artists have chosen to live and work in Germany. This volume offers a snapshot of their increasingly interdependent ecosystem, where national tradition mingles with cultural exchange. The book doesn’t group its 50 featured subjects by region of origin–half are from some kind of international background–or even necessarily by their current homes: it tracks the places where their works have been created, treating artistic production as an outcome of living and working together. Its subjects include a few of the most promising newcomers around, including Candice Breitz, Michael Elmgreen & Ingar Dragset, Sabine Hornig, Bjørn Melhus, Jonathan Monk, Julian Rosefeldt, Florian Slotawa, Simon Starling and Amelie von Wulffen.

This two-volume catalog offers essays, artist texts, and interviews, as well as documentation of every installation included in the Berlin Biennale. Featured artists include Carlos Amorales, Joseph Grigely, Inka Essenhigh, Aernout Mik, Jonathan Ocampo, Surasai Monk, Alicia Framis, Liam Gillick, and Renee Green. Edited by Saskia Bos. Essays by Daniel Birnbaum, Saskia Bos, Nicolas Bourriaud and Annie Fletcher. Artists include: Carlos Amorales, Fiona Banner, Parastou Forouhar, Alicia Framis, Kendell Geers, Liam Gillick, Renee Green, Joseph Grigely, Christian Jankowski, Aernout Mik, Adi Rosenblum, Manuel Ocampo, Tsuyoshi Ozawa, Dan Peterman, Rosangela Renno, Anri Sala and Fred Tomaselli.

This book contains four different views of an artists’ books collection. We just sorted in chronological order and took a picture of what was inside. Vincenzo Agnetti, Carl Andre, Nobuyoshi Araki, Stefano Arienti, Enrico Baj, John Baldessari, Fiona Banner, Matthew Barney, Robert Barry, Carlo Bertè, Alighiero Boetti, Christian Boltanski, Agostino Bonalumi, Brad Brace, Stanley Brouwn, James Lee Byars, Vincenzo Cabiati, Antonio Calderara, Enrico Castellani, Mariana Castillo Deball, Eduardo Chillida, Jean Cocteau, Gianni Colombo, Pietro Consagra, Gino De Dominicis, Sonia Delaunay, Herman De Vries, Giulia Di Lenarda, Gillo Dorfles, Peter Downsbrough, Marcel Duchamp, Olafur Eliasson, Peter Fischli & David Weiss, Lucio Fontana, Tom Friedman, Natalia Gončarova, Douglas Gordon, Roni Horn, Emilio Isgrò, Alex Katz, Anselm Kiefer, Terence Koh, Jannis Kounellis, Melissa Kretschmer, Frank Kupka, Maria Lai, Sol LeWitt, Ugo Locatelli, Claudia Losi, Françoise Mairey, Man Ray, Ari Marcopoulos, Brice Marden, Amedeo Martegani, Fausto Melotti, Jonathan Monk, Mariko Mori, Bruno Munari, Mario Nigro, Mimmo Paladino, Luca Pancrazzi, Giulio Paolini, Jes Petersen, Pablo Picasso, Sigmar Polke, Arnaldo Pomodoro, Markus Raetz, Angelo Savelli, Salvatore Scarpitta, Jim Shaw, Roman Signer, Kiki Smith, Dash Snow, Ettore Spalletti, Hiroshi Sugimoto, Wolfgang Tillmans, Richard Tuttle, Erik Van Der Weijde, Bram Van Velde, Luigi Veronesi, Jan Voss, Andy Warhol, Christopher Wool, Erwin Wurm, Yasuhiro Yoshioka

the new art considers recent developments in contemporary art. Issues include: appropriation; melancholy; “spectres of the past”; contemporary staging of exhibitions involving video and installation (with reference to painting); visual and language intersections in artists’ works; the value of art fairs; the separate significance of works which explicitly involve themselves with the circumstance of their production and consequence of their dissemination; the slight denigration of performance and the reinstatement of forms of satire; “futurology”, “lacunae”, “ellipses” and so on. Artists and projects discussed include: Tomas Saraceno, John Bock, Doug Fishbone, Tino Sehgal, Anne Bean, Man in the Holocene, pablo internacional magazine, Jonathan Monk, Rirkrit Tiravanija, Bonnie Camplin, Steven Claydon, Los Super Elegantes. With writing by Andrew Hunt, Catrin Lorch, Miria Swain, Caoimhin Mac Giolla Léith, Sean Ashton, Jennifer Thatcher, Tom Morton, Maxine Kopsa, Maja Fowkes & Reuben Fowkes.