This beautifully designed catalogue, published to accompany the Winter 2007 exhibition of this important German neo-Expressionist’s work at Nyehaus, New York, comes housed in a stunning monochrome cobalt-blue linen-bound clamshell box with the artist’s name embossed upside down and inside out on the front cover. Inside is a Coptic-stitched monograph, exquisitely printed on lush paper, which features a selection of Baselitz’s work from the 1960s and 70s–including oils on canvas, pastels, gouaches, and works in graphite, ink, crayon and other media. Designed by the prominent New York firm Helicopter, the book’s cover typography conveys the characteristic disorientation that Baselitz’s work induces when he inverts his work’s subject matter in order to free up its content. Inside, texts are printed in both English and German, while the typefaces address Baselitz’s struggle to reconcile his conservative German heritage with his contemporary sensibilities as an artist. Essay by Siegfreid Gohr, scholar and friend of the artist.

The fields of photography and architecture have long been closely linked: photography provides a powerful way for architecture to be appreciated from a distance, and the camera lens alters and enhances buildings so that they can be appreciated anew, even by those already intimately familiar with them. Concrete: Photography and Architecture explores this deep and often complex relationship, with particular attention paid not only to how photography influences the perception of architecture but also the very design itself. Beginning with the invention of photography in the nineteenth century, this volume presents iconic images of urban architecture and townscapes that are organized thematically rather than simply chronologically. The editors have assembled over two hundred images from numerous notable photographers, including: Georg Aerni, Adolphe Braun, Balthasar Burkhard, Lynn Cohen, Walker Evans, Lucien Hervé, Germaine Krull, Stanley Kubrick, Hiroshi Sugimoto, and William Henry Fox Talbot. Originally published to coincide with an exhibition celebrating the Fotomuseum Winterthur’s twentieth anniversary, Concrete: Photography and Architecture is an exhaustive investigation of architectural photography and is as beautiful as it is informative.  

This reprint of Avalanche by Primary Information makes the magazine available worldwide as a complete set for the first time in three decades. Originally published in magazine format for the first eight issues, Avalanche switched to newspaper format for the final five issues. This facsimile edition is a boxed set that houses the individual magazine issues and the newspapers bound in a single book form. Avalanche magazine was founded by Willoughby Sharp and Liza Béar shortly after they met in 1968. At the time, Sharp was a New York-based art historian and independent curator and Béar an underground magazine editor who had recently moved to New York from London. They published the first issue in 1970 and collaborated on 13 issues from 1970 to 1976. Avalanche focused on art from the perspective of artists rather than critics, and investigated new forms of art that were developing in the U.S. and Europe with a radical new media format—probing interviews and a visionary design that made extensive use of photography and dynamic layouts. For many artists, publication in Avalanche preceded a one-person gallery or museum show. Aside from an eight to twelve-page news section, the editorial content included only* interviews by Sharp and/or Béar, artists’ texts and documents of art and art making, also functioning as an exhibition space in print. Fresh, incisive and unpretentious, the Avalanche interviews—now landmarks—illuminate the creative process and give clear voice to the specific issues that permeated the era Among the featured artists were Vito Acconci, Laurie Anderson, Bill Beckley, Joseph Beuys, Chris Burden, Daniel Buren, Hanne Darboven, Walter De Maria, Jan Dibbets, Barbara Dilley, Simone Forti, Gilbert & George, the Philip Glass Ensemble, Grand Union, Hans Haacke, Jannis Kounellis, Meredith Monk, Barry Le Va, Sol LeWitt, Richard Long, Gordon Matta-Clark, Bruce Nauman, Dennis Oppenheim, Steve Paxton, Yvonne Rainer, Klaus Rinke, Joel Shapiro, Jack Smith, Keith Sonnier, Richard Serra, Robert Smithson, George Trakas, William Wegman, Lawrence Weiner, the Western Front and Jackie Winsor. This boxed facsimile edition of Avalanche’s complete run reproduces the first eight issues individually, and the final five in a single bound paperback. The publication, 1,016 pages and illustrated throughout, is housed in a heavy duty, laminated, archival box measuring 10.5 x 19.5 x 2.5 inches. The first eight issues measure 9.25 x 9.25 inches and are exact facsimiles of the originals; the subsequent five tabloid-sized issues, now bound as a single volume measuring 9.25 x 13.5 inches, have been reduced slightly in scale from the original format. INDEX: The Early History of Avalanche by Liza Béar and Willoughby Sharp. Square Magazine Format: Avalanche 1, Fall, 100 pages, b&w, Earth Art, 1970 Avalanche 2, Spring, 140 pages, b&w, Body Works, 1971 Avalanche 3, Fall, 100 pages, b&w, Post-Studio Sculpture, 1971 Avalanche 4, Spring, 100 pages, b&w, Conceptual Art, 1972 Avalanche 5, Summer, 84 pages, b&w, Performance, 1972 Avalanche 6, Fall, 100 pages, b&w, Vito Acconci, 1972 Avalanche 7, Winter/Spring, 84 pages, color, Humor, 1973 Avalanche 8, Summer/Fall, 84 pages, b&w, 1973 Tabloid Newspaper Format: Avalanche 9, May/June, 36 pages, b&w, Video Performance, 1974 Avalanche 10, December, 52 pages, b&w, 1974 Avalanche 11, Summer, 40 pages, b&w, 1975 Avalanche 12, Winter, 40 pages, b&w, 1975 Avalanche 13, Summer, 48 pages, two-color, 1976 Introductory quote was taken from The Early History of Avalanche, Chelsea Space, London, by Liza Béar and Willoughby Sharp, 2005.